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PAGING MISS GLORY!
ENTER CONTEST l\ FIND
HOLLYWOOD'S COMPOSITE GIRL!

Beginning A New Hollywood Serial by Vicki Baum

^f^tJ. ^e^t^a//j^e^^G^/ci&J^je^ member of the immortal Lee

<~-^ family of Virginia . . . noted

for her beauty and talent — her reputation as a hostess in
Paris and New York. Adores music. Has many friends
among modern composers. Loves the outdoors and has a
shooting oqx in the Adirondacks. Her sister is married to
Rockwell %ent, famous artist.

AUHEfiS...

The appointments of luxurious living — yet the beau-
tiful Mrs. Glaenzer pays only 25^ for her tooth paste

Certainly no mere price could be
a factor in this charming woman's
choice of Listerine Tooth Paste.
She likes it and uses it for what it
does. The quick, thorough way it
cleans; the brilliant lustre it im-
parts to teeth.

"It gives my mouth a new-born
feeling," said Mrs. Glaenzer in her
lovely New York apartment, "and
gives me a sense of well-being."

Literally thousands of men and
women who can afford to pay any
price for a tooth paste, have
switched to Listerine Tooth Paste
and stick to it. More than two
million women and a million men
are using this beauty and health
aid made by the makers of famed
Listerine.

If you have not tried it, do so

now. See how much cleaner your
teeth look. See how much brighter
they become. Note how wonder-
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mouth feels after its use. Remem-
ber that here is a product in every
way worthy of the notable Listerine
name; at a common sense price.
In two sizes: Regular Large, 25^
and Double Size, 40^.
Lambert Pharmacal Company
St. Louis, Mo.

Listerine
TOOTH PASTE

Mrs. Glaenzer 'sio-
carat diamond ring
and solid gold ciga-
rette case given by
Napoleon to a Rus-
sian princess, and
her three diamond
bracelets.

Corner console of the Louis
XVI Period in Mrs. Glaenzer 's
apartment. Also Chinese
crackle, glaze porcelain jar
from the Ming dynasty.

Rare Louis XV French com-
mode. Behind it a rich Ming
Period Chinese painting on
silk, together with porcelain
vase of the Chien Lung Period.

Rivaling Mrs. Glaen-
zer's ermine and silver
fox evening wrap in
grace and beauty, is her
mink cape, constructed
of beautifully matched
skins, collected over a
period of twenty years
by a famed furrier.

Screenland for June 1955

ill

APR 23 1935

©ciB 26106-5

The Smart Screen Magazine

Delight Evans, Editor

James M. Fidler, Western Representative

prizes!
PRIZES!

PRIZES!

Prizes very well worth win-
ning, in our new contest to find
Hollywood's Composite Girl.
We're "Paging Miss Glory"!
Turn to Pages 18-19 for com-
plete details. You will enjoy
this contest for the entertain-
ment it will give you, your
family and friends; but the
real thrill will be competing
for the prizes!

First Prize, beautiful new
Auburn 1935 Convertible
Salon Phaeton Sedan.

Second Prize, Atwater Kent
8-Tube A.C. World -Wave
Console Radio.

Other Prizes include: small
R.C.A. Victor Radios, Ruben-
stein Compacts, hostess sets,
electric toasters, and last but
not least, subscriptions to

SCREENLAND.

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

June, 1935

Vol. XXXI. No. 2

EVERY STORY A FEATURE!

An Open Letter to Ginger Rogers Delight Evans 13

W. C. Fields' Real Life Story Ida Zeitlin 14

Constant Kay. Kay Francis S. R. Mook 16

"Rosebud." Joan Blondell Elizabeth Wilson 17

Composite Girl Contest 18

Page Miss Glory. Fictionization Elizabeth Benneche Petersen 20

Winner Takes All. Charles Boyer. Joel McCrea

Dell Hogarth and Ben Maddox 22

Screenland Glamor School. Edited by Katharine Hepburn 24

26
29
30
32

Glamor Girl. Fiction Vicki Baum

Marlene Looks Ahead. Marlene Dietrich Leonard Hall

Best Bets. Fred MacMurray. Anne Shirley James Marion

Reviews of the Best Pictures Delight Evans

"Stars' Temperament? Smoke-Screen!" Says King Vidor

Sydney Valentine

Wallace Beery's Cinematic History James M. Fidler

The Long Arm of Coincidence Winifred Aydelotte

51
52
54

SPECIAL ART SECTION:

The Living Hollywood: Living Fashions posed by Janet Gaynor; Joe
E. Brown and his Family at Home; Living Personality Portraits of Gary
Cooper and Carole Lombard; Action! Spirit!; Off Duty! On Duty!;
Living Rhythm! Jean Harlow; Sun Fashions; Just Kids; The Most Beau-
tiful Still of the Month.

DEPARTMENTS:

Salutes and Snubs. Letters from Readers 6

Screenland Honor Page 8

Inside the Stars' Homes. Sally Eilers 10

Walking to Health James Davies 56

Radio Parade Tom Kennedy 57

Beauty Comes Out in the Open Josephine Felts 58

Here's Hollywood. Screen News Weston East 60

Ask Me Miss Vee Dee 66

Femi-Nifties 90

Tagging the Talkies. Short Reviews 98

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices. 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Adv. Representative, Loyd B.
Chappell, 511 S. Alexandria Ave., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention
but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada;
foreign $2.50. Changes of address must reach us six weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class
matter November 30, 1923, at the Post Office at New York, N. Y., under the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1935.

Member Audit Bureau of Circulations.

Printed in the U. S. A.

for June 19 33

LET'S GO "RECKLESS"!

Thrill to the tap, tap, tap of her dancing feet in "The Trocadero"
See her sell kisses for $500 each. Cruise with her on "The Honey-
moon ship". Romp with her in "The Dormitory Pajama Party".
Hear her sing the hlues. Gorgeous Jean Harlow teamed with
William Powell is heading your way in the biggest musical show
of the century with a throbbing love story as exciting as its title.

HARLOW

WILLIAM

POWELL

with a screenful of beauties
and a great cast including

FRANCHOT

TONE

MAY

R 0 B S 0 N

TED HEALY
NAT PENDLETON
ROBERT LIGHT

Produced by
DAVID O. SELZNICK
Directed by
VICTOR FLEMING

SCREENLAND

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Salutes

and Snubs

Irene Dunne, whose per-
sonal charm and screen
versatility win her the
Salutes of movie-goers.

The first eight letters receive
prizes of $5.00 each

THE DICKENS TO PAY!

I've heard a great deal about what peo-
ple will do to see a good movie. Well,
we have rules here, among them : "No
movies on Sunday." I broke it to see
"David Copperfield," got caught at it and
now I'm campused for two weeks. The
funny part of it is that it was worth it!

Ruth Jones,
DeLand Hall,
Stetson University,

DeLand, Fla.

KEEPING UP WITH THE
MOVIES!

I run a lending library and all I have
to say about a book is : "It's going to be
made into a movie," and people are anxious
to read it. They feel that it must be good
if the films want it. And they're usually
right.

Mary W. Chase,
1 Summer St.,
Plymouth, Mass.

"Talkies" that come
straight from the
Public's heart

THOSE SOCIAL PROBLEMS

Why can't Hollywood produce movies
that "make you think?" Such films as
"M" are needed to arouse interest in im-
portant social problems. Anyone seeing
"M" must realize the difficulty of differ-
entiating the sane and the insane criminal.
Is Hollywood too superficial to deal with
basic problems?

Harriet Smith,

Smith College,
Northampton, Mass.

{Continued on page 84)

Salute a new trend! A movement, manifesting
itself simultaneously most everywhere, and the
harbinger of cheer and encouragement to the
younger players as well as those seasoned troupers
who have won prominence in many pictures with-
out benefit of ballyhoo in any, comes to light this
month.

However, don't rush to the conclusion that the
leading favorites are being neglected — read and
you'll see that there's glory enough for all when the
devotaes of the cinema start dishing out the
tributes.

And now, how about YOUR letter? Let us hear
from you as to your own notions about the stars
and the pictures. You may win a prize if you send
a letter. Please restrict it to fifty words, and ad-
dress it to: Letter Dept., SCREENLAND, 45 West
45th St., New York, N. Y.

for J nne 19 3$

Hollywooc

i's Most Famous

Joins the

ail Man

and H

Its the March of

Crime!

leave it to Warner
Bros, to make the first big
picture of America's great-
est battle in the war on crime!

The producers of "The Public
Enemy" have trained their
cameras on the men who trained
their guns on the craftiest killers of
this gang-ridden day and age.

They've brought the G-MEN, mighty man-
hunters of the Department of Justice, out of the
shadows of secrecy into the brilliant glare of the
picture screen.

Yesterday's screaming headlines are a feeble
whisper compared to the sensational revelations
in this shot-by-shot dramatization of gangland's
Waterloo — the last stand of the underworld!

It's all here! . . . every graphic detail of how the
deadly trap was set— and sprung — on the Mad
Dog of the Mobs, and of how the Big Shot no
jail could hold kept his rendezvous with death!

"G-Men" is easily the stand-out for this month's
highest honors. Our advice is to see it yourself
before your friends begin to rave about it!

Public Enemy No. 1 in the
never - to - be - forgotten
Warner Bros, thriller,
"The Public Enemy."

s on Uncle Sam's
e, staging his own
ivate war with the
public enemies of 1935 !

JIMMY C A GNEY revels in his return to
the scenes of his greatest triumphs!. . . And Ann
Dvorak, Margaret Lindsay, and Robert Armstrong
score heavily in a big cast, superbly directed by
William Keighley for First National Pictures.

10 Screen land

nside the Stars' Homes

Sally Eilers is our hostess
for Sunday night supper

By Betty Boone

Exclusive photographs hy Irving L. Rose and Charles Rhodes
posed especially for Sckeenland Service Section.

Sweet Sally, left, makes her own special salad; and then,
above, prepares graciously to greet her guests in the din-
ing-room, where the buffet supper is ready to be served.

SALLY EILERS was giving a Sunday night supper.
She was wearing a cocktail gown — long black
skirt and pale pink top — and the place was
a-blossom with white flowers.
Sally's Hollywood home is a deluxe apartment in the
Colonial House, which has the spacious rooms and great
sun-filled windows that belong to such a name. The
walls and Venetian blinds are white and the carpets are
that favored soft, dull blue. The living-room is like a
flower garden with its furniture in green, yellow, rose,
burgundy and patterned chintz. The grandfather's clock
and open fire-place add to the Colonial atmosphere.

"I love planning parties almost as much as I love to
cook !" confided Sally, as we inspected the glassed-in sun-
room, set with four white tables ready for the coming

guests.

'I always do the marketing for my parties and I try to
cook at least one of the dishes I offer. I know it sounds

like a gag when a girl in the movies says she likes to
cook ! But it happens to be true in my case. I've cooked
since I was seven, when my father gave me a tiny elec-
tric range to use myself because I was always in the way
in the kitchen. I believe I began with fudge, from some
easy recipe, but now I invent my own.

"Some of us have organized a cooking club — Mrs.
Mervyn LeRoy, Mrs. Ricardo Cortez, Mrs. Pandro Ber-
man and myself — and we meet each Thursday night at
one or other of our homes, and we girls get the dinner.
It's maids' night out on Thursday. It was my idea and
we all love it. Do you know, my husband (Harry Joe
Brown) had been married to me for two weeks before
he knew his wife could cook? And was he thrilled?"

She laughed and looked as pleased and proud as any
successful cook.

"Tonight I'm serving cold turkey and a mixed grill
consisting of bacon, little pig {Continued on page 93)

for June 19 33

W BLUE OF H*

n _»<liThepilvate told
* terxdet^06 . .asbto

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SCREENLAND

YOUVEIVON-HIM-
NOW YOU MUST KEEP ttli

Don't let Cosmetic Skin
spoil your good looks!

QO much of a woman's charm
k3 depends on keeping her skin
clear — appealingly smooth. Yet
many a woman, without realizing
it, is actually spoiling her own
looks.

When stale make-up is not prop-
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choke the pores day after day, it
causes unattractive Cosmetic Skin.
You begin to notice tiny blemishes
— enlarged pores — blackheads,
perhaps — warning signals of this
modern complexion trouble.

Cosmetics Harmless if
removed this way

In Hollywood the lovely screen
stars protect their million-dollar
complexions with Lux Toilet Soap
— the soap especially made to re-
move cosmetics thoroughly. Its

rich, ACTIVE lather sinks deep
down into the pores, carries swiftly
away every vestige of dust, dirt,
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Fuss a Land/

PARAMOUNT STAR

ANY GIRL CAN HAVE A
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YOUR SKIN AS IVO-WlTri
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for J une 19 3 5

An Open Letter to Ginger Rogers

Ginger, don't do that!

DEAR GINGER:
Say it isn't so!
I refuse to believe it until you tell me your-
self. That you aim to go dramatic and tense in
a big way. That you're fed up with being a
"mere" song and dance girl and want to join
the ranks of the suffering sisters. Why don't
you look Hepburn over — she works on the same
RKO lot with you — look her over carefully;
then run right in to your mirror and look at
yourself. See what I mean? Why, emoting
seriously might make you go all angular. You,
with the most remarkable curves since Sister
Crawford went artistic.

Wake up! Don't you know that every other
girl in pictures except possibly Shirley Temple
is watching and envying you this minute?
Envying you because you're the screen's premier

song and dance star? Ever since Fred Astaire
stepped you to glory in "The Gay Divorcee"
you have been the pet and pride of our younger
sets from Tuskaloosa to Timbuctoo. You've
set the style for smartness and spirit. And with
"Roberta" you have really hit your graceful
stride as the Gay Gal of the movies. And now,
I hear rumblings that you're out for bigger and
better things. ARE there better things than
those divine dances you've been sharing with
Mr. Astaire? I don't think so. Here you want
to go on to the higher drahma, leaving all the
Ginger 'way behind you. You want to grow
up, you say? Gosh, girl, don't you know that
all the Hayeses and the Chattertons who sobbed
their way to acting heights would probably give
their last whimper to be in your pretty shoes
today?

Yet you want to grow up! That's why, I
suppose, you posed for this picture — as you'd
like to be if they let you. Wait a while. Wait
until you can't keep up with Astaire's more
intricate steps; until you can't quite muster the
moral courage to wear Mr. Newman's crazy
creations. Then's the time for you to "grad-
uate" from Ginger to Madame Rogers. And
then 's the time you'll yearn for the good old
days when you were the dancing doll of the
screen, the beautiful but dizzy darling of friv-
olous film-plays that made all kinds and con-
ditions of people ridiculously happy. So be
yourself. Better to be light on the feet than in
the head.

SCREENLAND

W. C. FIELDS'

'M GOOD and sick of tellin' the story of my life,''
grumbled Bill Fields. He paused for a moment
in his moody pacing of the room. "How about
tellin' it backward this time?" he suggested. "How
about givin' me a new life altogether? — I was born rich,
handsome, and at the age of 21 — there's a sensation for
3'ou if you want it. How about you tellin' me the story
of your life, for a change?" He flopped into a chair and
eyed me blandly.

But he wasn't fooling me this time. I was through
with being intimidated by Mr. Claude William Duken-
field of the Philadelphia Dukenfields. Once and for all
I'd gone through my trial by fire. I'd chased him in vain
over half of Hollywood. I'd pleaded to no avail with
the keeper of his telephone. I'd camped at his dressing-
room door till the shades of night fell spectrally over the
Paramount lot. I'd engaged in a brief encounter with
Rod — erstwhile Lincoln salesman, now a wall of rock
between Fields and sundry outside nuisances — and re-
tired in defeat. In a word, I'd found the screen's most

Real
Life

Story

By Ida Zeitiin

"Bill"
left,
made
world-
heart
same:
and

Fields today —
Hollywood has
him rich and
■famous, but at
he remains the
gallant trouper
a big-hearted
man being

W. C. Fields at various
stages in his amazing career.
Directly above, an old poster.
Right, in his juggling act.
Top, as he appeared in
vaudeville 31 years ago.

for June 1935

darling

that

he hates above all others —

genial comedian slippery,
elusive, and hard to get.
I'd also found him, once
he'd been got, a
— for which
tribute he's far less like
ly to forgive me than
if I'd called him a thief,
a liar, and a rogue.

For if there's one thing
with a fierce and genuine hatred — it's to hear himself
sentimentalized, gushed over or otherwise presented as
anything but the plain-thinking, plain- (if picturesque)
speaking citizen he is. The fact that his great-grand-
father was the third son of an English nobleman you'd
never learn through him. He doesn't brag about it. He
doesn't brag about his ancestry at all, remote or imme-
diate. On the contrary. He's proud — and justly proud
— of the fact that without background, without training
or education save what he gave himself, he raised him-
self to the peak of his profession. Grandfathers? Great-
grandfathers? Nuts to them, says Fields.

Not long ago he received a letter
from a man who had learned some-
where that his attitude toward his
forebears lacked something of the
reverence expected of posterity.
"You're all wrong about it," the let-
ter ran. "Your grandfather and mine
were raised together in the old coun-
try. They came to America together,
and when your grandfather left town
to go west, my grandfather pined
away and died. Which revelation did
move Fields to a certain show of emo-
tion. Lifting his spectacled gaze
from the letter, he stared into space.
"Just a couple of sissies," he mur-
mured piously.

Certainly, judged by ordinary
standards, the Dukenfields did less
than their duty by young Claude — a
tag, by the way, whose shame he
concealed as early as possible under
a middle initial. Literally, he was a
white-headed boy, but in no other
sense. Money was scarce, and pov-
erty is no promoter of happy family
life. His mother was easy-going, his
father hot-tempered. She did what
she could to preserve the peace, but
most of her energy went into trying
to feed and clothe her brood of five
ittle over nothing a week,
and casual blows were
accepted as part of the normal rou-
tine by the younger Dukenfields.

Until one day it transpired that the
father's temper had been passed in-
tact to his son. If justice were done,
the world that has gone Fields-mad
would wear in its buttonhole a coal-
shovel rampant. For Dukenfield
Pere, coming home one evening,
tripped and sprawled over such an
object left lying on his doorstep. A
domestic accident like hundreds of
others that befall hundreds of house-
holds in the course of a year. But it
spelled immediate catastrophe and
ultimate triumph for little Claude
William.

For the first time the famous comedian tells you
his authentic personal history. The most dramatic,
and at the same time touchingly human life story

we nave ever given you!

Roaring with pain and
wrath, the father made
straight for his eldest
hopeful, whose terror
proclaimed his guilt ;
next moment the shovel
was doing cudgel duty
about the boy's thin
shoulders.

Why this particular beating should have moved him
to rebellion Fields can't explain. It was no more severe
nor unjust than many of its predecessors. Perhaps the
ground had been laid by those that had gone before.
Perhaps he'd reached an age where the indignity of
corporal punishment was more than he could hear.
Perhaps it was the flowering of that fighting instinct
which later events proved him to possess in full measure.
Whatever it was, he saw red. Through a mist of fury
and unshed tears, his eyes lighted on a box in a corner
of the room. Whether he'd ever heard of honoring "thy
father and thy mother" is beside the point. Honor, like
love, can't be commanded into {Continued on page 78)

on a

Thrashings

'Who left tin's shovel out hi

re .

Fields in the sun! Finished with his role in Paramount's "Mississippi," "Bill"
relaxes on his ranch at Encino, California. Success and contentment at
last for Claude William Dukenfield!

SCREENLAND

Constant Kay

What, the elegant Miss Francis debunked?
But in a very nice way!

Remember Kay of the sleek
boyish bob, when she first
came to Hollywood, left?
She has changed her coif-
fure; but she still lives in
the same unpretentious
home, and she still likes to
laugh, says Dick Mook.

ONE evening six years ago the candles flickered
on the dinner table at the Fredric Marches'
home. About the table were seated Fred and
Florence, Mary Astor and Kenneth Hawkes,
scenarists Harlan Thompson and Marion Spitzer, Kay
Francis and myself.

Everything was very enjoyable and very, very proper
and refined until we repaired to the living room to play
intelligence games. Kay's answers to the questions,
while not exactly the sort that Emily Post would describe
as suitable for parlor conversation, threw us all into gales
of laughter and from that point on the party was a riot.
Nor did Kay content herself with merely having raised
(or lowered) the party from a plane of rarified culture
where I, at least, was floundering hopelessly beyond my
depth. Her anecdotes of her days in various stock com-
panies kept us convulsed.

Previous to that evening I had only seen Kay on the

screen in the siren roles with which she was identified in
those days. "Sophisticate" and "Best-Dressed Woman
on the Screen" were a couple of the appellations hung
on her at that time. When Freddie March had told me
Kay was to be my dinner partner I had been thrilled to
the marrow — naturally — and scared into a cocked hat. I
would, I knew, be the perfect dolt in the presence of the
glamorous Kay.

Nothing like that happened. Kay has a happy faculty
for making a person feel that her appearance is simply an
accident and that she's really one of the gang. Her
charm is as patent as something tangible and yet it never
obtrudes itself on your consciousness. It is not until
you've left her that you realize just how charming she is.

I remember as I left her that night — or rather, as she
left me, for I'd only just arrived in town and hadn't a
car so Kay had driven me home ! — I thought, "Oh, gee,
what a girl !"

She lived in a rather large house at the time, with a
fish pond, a cat, a parrot, a dog or two, a turtle, I think,
and some frogs. She drove her own automobile. In
her manner she was as plain and unassuming as an old
shoe.

I saw Kay a few times after that and every meeting
only served to heighten and color my first impressions
of her. Then I didn't see her any more for a couple of
vears. It was just about the time she had been signed by
Warner Brothers. She had (Continued on page 64)

for June 1935

Rosebud

Joan Blondell was once known as
"Rosebud," when she traveled the

world with her vaudev
Wasn't she cute? — right.

still is — above.

le family.
And she

Otherwise Joan Blondell, next to Carbo
Hollywood's most contradictory celebrity,
here "exposed" by her best friend

By Elizabeth Wilson

South Seas with the dusky maidens to Joan Blondell and
a fan writer in Hollywood getting terribly chummy, but
I always say truth is stranger than fiction and great oaks
from little acorns grow. Up to the time Joe went to the
South Seas I had only
met Joan once, quite,
quite casually —
and she and
I would
probably
still be

IF JOSEF VON STERNBERG had never gone
to the South Seas, Joan Blondell and I probably
never would have become the best of friends. It
was Joe, the little man with the big ego, who gave
me Joan, and I have never thanked him but every
time I pass him I plant an imaginary kiss right
above those drooping mustachios.

Three years ago, come Santa Claus, Joe
von Sternberg sailed for the South
Seas in a huff, Marlene Dietrich
went into a tantrum, Claudette
Colbert ran out on me — and
Joan Blondell and I started
liking each other tre-
mendously. Now it
may seem a far
cry to you
from Joe
down
in the

bow-
ing very
formally to
each other
with a careless
"How do you do?"
if Joe, bless his soul,
hadn't worked himself into
an awful pet and gone to the
South Seas. But he did. And
suddenly I found myself up to my
eyebrows in Blondells and involved in
a cataclysm of exciting events that led
to the altar in Phoenix, Arizona.
Imagine my surprise when I became a maid-of-
honor. There was a lot of talk. Well, anyway,
this is how it all happened, and you'll find it slightly
more confusing' than a family tree in a Hugh Walpole
novel ; but pay strict attention because some day you, too,
may want to become Joan Blondell's best friend.
There was a picture called "Song of Songs" which Paramount
said was colossal (and time and box-office proved that Paramount
was right; it was a colossal flop) ; but Joe von Sternberg didn't want
to direct it so he sailed to the South Seas, and {Continued on page 76)

right

SCREENLAND

Paging Miss Glory!

If you could create Hollywood's most perfect screen star, Girl. The picture above shows you an outline of "Miss

what would she look like? If you could choose the most Glory" surrounded by nine famous women stars. You need

perfect hair, eyes, mouth, nose, arms, hands, hips, legs, not limit your selection to these stars; if you have oth

and feet — which nine Hollywood beauties would you select ideas, say so. Ask yourself: would Hollywood's Comr

to supply each of these features? Screenland wants to Girl have Mae West's hips, or Harlow's? Would si

know yoV idea of "Miss Glory," Hollywood's Most Perfect Garbo's eyes, or Crawford's? And so on.

for June 1935

FIRST PRIZE: Auburn New 1935 Convertible Sal
Retail Value $1800.00. Includes Extra Wheels a

SECOND PRIZE: Atwater-Kent 8-Tube A.C.
World-Wave Console Radio.

3 THIRD PRIZES: (small) Atwater-Kent Radios.

15 FOURTH PRIZES: Electric Toasters.

50 FIFTH PRIZES: Helena Rubenstein Compacts.

100 SIXTH PRIZES: Hostess Sets.

100 SEVENTH PRIZES: Subscriptions to Screen-
land Magazine.

SEE PAGE 83 for Complete Rules of Contest

Marion Davies starts work on her
ture, "Page Miss Glory," at the
Studios, and is greeted by Jac
right, and Mervyn LeRoy, het

on Phaeton Sedan. Pictured above. Approximate
nd DeLuxe Equipment.

Screenland seeks Hollywood's Composite Girl !
Marion Davies, starring in "Page Miss Glory," her
first motion picture for Warner Brothers, co-oper-
ates with us in offering wonderful prizes and a
brain-teasing competition idea — see opposite page.
Marion, in selecting "Page Miss Glory" for her new pic-
ture, was amused and entertained by the clever idea of
fashioning Hollywood's Most Perfect Girl, selecting the
best features of famous feminine film stars to make "The
Perfect Star." Hence our contest. You will want to
read the Actionized version of Marion's film, "Page Miss
Glory," beginning in this issue on the following page, to
absorb the atmosphere of the story. Then you will wish
to study the large picture on the page opposite. There
are no restrictions to your imagination ; you may name
the hair, eyes, mouth, nose, arms, hands, hips, legs, and
feet of any star that you believe best qualifies for dis-
tinctive features. Your family and friends may have
totally different selections,,.,which makes it all the more
fun ! First step of contest fi^given here, in this issue. Be
sure to read carefully all the rules, to be found on Page
83. Fill out the coupon on this page. Retain this coupon
- 35 ft^'-* 'H v* 1 T,ulv i^sue\ on sale

adventi

lys m this
inded aeai;

3 new pic-
srner Bros.
.. Warner,

ector.

SCREENLAND

MARION DAVIES
as "Dawn Glory," the chamber-
maid who became a celebrity.

THEY pour into New York
by the thousands, girls like
Loretta. Girls as young, as
eager, and as lovely. And
they bring their dreams with them,
dreams that look softly from their
eyes and ache in their throats and
throb in their voices when they
speak. Dreams that are sometimes
so fragile they shatter into tiny
pieces and hearts break with them.
Dreams that once in a thousand
times are strong enough to endure
and soar to reality.

••>. Lea*-*1 — •^sszt^W- 'dM ' 1

PAGE

The human and amusing story of an
average girl who became a celebrity
— through no fault of her own!

Fiction ized by

Elizabeth Benneche Petersen

really thought of that better "someone" as Bingo. Never,
even when his arms held .her close in romantic fantasy
and his lips sought hers, had he seemed a real person.
He was one of those glamorous celebrities who lived
in the world of newspaper type and blurred press photo-
graphs. Even as she dreamed of seeing him walk the
street some day as an ordinary man, she couldn't really
conceive of him walking at all.

New York people had all seemed
like that once, but now she saw the
residents of the big hotel were like
the transient guests who had come
and gone at the Commercial
House. Some of them were surly
and unresponsive and some of
them were warm and friendly like
Betty, the other chambermaid on
the floor who had become her con-
fidant— and some were always
ready with a wise-crack like the
two men in Room 1762.

IORETTA was always hovering
■> around 1762 because she had
discovered that Click Wiley and
Ed Olsen, who shared the suite,
were desperately hard up ; and
ever since the afternoon she had

for June 1955

iss Glory

Adapted from the Warner Brothers
picture. Directed by Mervyn LeRoy.
From the stage play by Philip
Dunning and Joseph Schrank.
Screen play by Robert Lord and
Delmar Daves.

stolen the dinner of the spoiled Pekinese down the hall
and given it to them she had more or less taken them

under her wing.

"Why don't you take them over and support them?"
Betty had asked once in exasperation.

There was no doubt that Loretta's maternal instinct
had already toyed with the idea and discarded it. For
her blue eyes widened ; and pity, the kind of pity known
only to the great mother-heart, played about her lips.

"I couldn't — unless I got my pay raised," and her
voice ended in a groan as she saw Mr. Yates, the mana-
ger, making his ominous way
towards the room. She had been
a chambermaid long enough to know
what that meant.

CLICK was struggling with his tie
when the door-buzzer sounded
and he bounded towards it. Maybe
it was luck beckoning to him again.
The wanton jade had summoned
him so often just as unexpectedly
and left him again with as little cere-
mony. His eyes lit up expectantly
as he opened the door with a flour-
ish, and only the trained eyes of a
hotel manager would have seen the
flickering panic that wavered in
them for that split second before
he got himself in hand again.
"I'm glad you stopped in, Mr.

PATSY KELLY
as "B^tty," the
heroine's pal.

PRANK
McHUGH

as "Ed Olsen,"
i^i* i ii i

DICK POV/ELL
as "Bingo Nelson," stunt avi-
ator, "Dawn's" dream man.

Yates." Click had discovered
early in his checkered years the
value of the offensive in a tight
spot. "I have a little complaint
to make. The service hasn't been
quite what it should be lately. A
hotel like this depends on service
for its reputation. Without that
what have you?"

The manager stared at him
coldly, and Ed who had been
counting on Click's seeing them
through again, groaned inwardly.

"I have your bill, Mr. Wiley."
Yates flipped the paper impatiently
against his hand. "It is how four
weeks in arrears. May I count on
this suite being vacated ?".
No one could faze Click once he had started any-
thing.

"Mr. Olsen," he turned impatiently to Ed. "Please
make the necessary arrangements to move to the Ritz
— on Tuesday. The bill will be taken care of before we
leave. That will be all ?"

HPHERE was a polite note of dismissal in his voice but
the old light of battle was in his eyes as the door
closed behind the nemesis of all adventurers.

"Nobody knows how depressed I feel," Ed muttered.

"That's silly." Click grinned. "Anything can happen
by Tuesday. Why, many a guy has become a million-
aire in three days in this town." He wheeled around as
the buzzer sounded again. "That may be the buzz of
opportunity now. Keep coming, Destiny!"

But it was only Loretta with a pile of fresh towels
over her arm.

"If there's anything we need (Continued on page 74)

SCREENLAND

Winner tak

Hollywood had Boyer but let him go, then
called him back for the role you see him
in above with Colbert, and next to play
opposite Hepburn.

Nothing succeeds like success — thus
"Academy Award" Colbert presents
two prize leading men in Charles
Boyer and Joel McCrea

By Dell Hogarth

MORE than any other actor in Hollywood today
Charles Boyer is the talk of the town.
His magnificent work in "Thunder in the
East/' (European film formerly titled "The
Battle"), had the village gasping. Here, the critics
cried, is a flawless artist who has mastered screen
technic. Then it was discovered, while the producers
were still burning up the cables to Europe, that this
young Frenchman already had been signed for the stel-
lar role in Walter Wanger's production of "Private
Worlds." Charles Boyer, everyone asked, who was he?

Then Hollywood remembered. He had made a picture
here once before : "Caravan," a rather mediocre film in
which he portrayed a moon-struck gypsy. Hostesses re-
called their personal disappointment. This Barrymore
of the Parisian stage had steadfastly remained a recluse
from the colony's social whirl. Various young ladies re-
called their disillusionment. Instead of dashing forward
at every flutter of ,a handkerchief to bend tender lips over
an outstretched hand this dark-eyed Frenchman, who en-
joyed the reputation of being the greatest lover on the
Parisian stage, showed no interest at all in casual flirta-
tions. Young men-about-town recalled their happy sur-
prise. Instead of keeping all feminine hearts in a state
of suspense this Gallic menace met, wooed and married
the English actress Pat Patterson all within the space of

three days. I tcers recalled their mild alarm. It was

whispi ■ ed t ioyer was temperamental. Beyond that,
laborii hed from Hollywood's short memory,

there nown. The man, himself, was still a

mys^e

It v rivilege to meet Charles Boyer when he ar-

rived i: >d for the first time, talk with him and

his w rore he sailed back for France, and visit

with him again upon his return to make "Private
Worlds/ Pei 1 )s I can clear up some of the fog.

Wl. as making "Caravan" at Fox the news

leaked ov$ that he was temperamental. The news was
efore the camera he gave of his best,
'ank stopped turning, the arguments
wed with the director, protested to the
ve everyone to understand that he was
1. He begged to be let out of his long-
When the picture was over he bought
lat first venture in American films cost
ney.

md this thoroughly we will know a great
oft-spoken Latin who stands trimly erect
line, and looks at the world out of seri-
He has the easy carriage of an athlete,

the

soon
but
startf
prodttc
highl;
term
himsi

him .- lot i m<

If
deal
to h

ous brow 1 eves

the fa,
him.

rtist. But there is nothing "arty" about
at you directly, (Continued on page 71)

for June 1933

Joel McCrea is just as determined to "hit
the top" of his profession as he acts in
this dramatic scene with Colbert in
"Private Worlds."

Our own McCrea is now headed for
new acting heights, while Boyer's
Gallic charm and skill make him the
talk of Hollywood

By Ben Maddox

BEING a social riot with Beverly's best is a grand
idea — for a time! So is being super-agreeable.
But a Greek physique and a flock of winning
ways can take an ambitious fellow only so far,
even in S. A. -conscious Hollywood. Page Joel Mc-
Crea. This is just one of several important facts he
can pass on relative to the fine arts of cinema climbing.

You aren't up on your McCrea if you still think of
him as a de luxe beach boy. In the past year he has
done far more than settle down as a husband and papa,
too. He has declared his independence. Blah heroes
are out. So is the society stuff. And fio heck with hid-
ing honest opinions!

He has been appearing less often because he has been
turning down roles with a vengeance. At twenty-nine,
thanks to years under long-term contract during which
he saved more than half of his earnings, he doesn't
have to be booted into any old story. He vn afford to
wait for the right ones.

"I believe the amateurishness has worr ff me and
I'm ready to show what I can do with a genuine char-
acterization," McCrea asserts. "Not that I rn to go
arty. I know my limitations bettei ■ e else !

"I'm not capable of tackling any kind Metro
offered me a lead with Joan Crawfoi d anchot
Tone later played. I rejected it; I cai ^uave,

sophisticated sort of acting. I hope I'll develop more
along Gary Cooper's line."

The Hollywood Athletic Club is Joel's favorite hang-
out, and it was there I ran into him. Very tall, hand-
some, and strikingly bronzed, he threw one leg over
the arm of his chair as he talked.

"For more than a year now I've been free-lancing,
and on purpose. I realize I haven't the makings of a
Barrymore. John could be convincing as a decrepit old
man or as an innocent young girl ! Still, I don't want
to jog along and always be just 'competent.' I'm am-
bitious to hit the very top.

"When you're under contract you have absolutely no
say as to your parts. Generally you get into a rut and
there's no progress. A number of my epics were so bad
few people saw 'em, so I don't think folks are tired of
me yet. I figure that to date I've been acquiring the
experience that's necessary. I've a 'name' of sorts, but
I'm nowhere near the nuisance stage !"

Such keen self-analysis isn't surprising from Joel Mc-
Crea, for he is a thoroughly bright young man. Son of
a well-to-do Los Angeles family, he attended Pomona
College. His chums were children of the film great.
Joel saw to that. But it was as the escort of various
beautiful feminine stars that he actually attracted the
earnest attention of the movie (Continued on page 73)

SCREENLAND

amor

Schoo

Edited by

foe—

News! The screen's
most distinctively
glamorous star for-
sakes costume roles
for smart modernity in
"Break of Hearts"

Knock-about knitted
dress which Hepburn
m'L /en more

rolling up

il eves!

for June 1933

Close-up of the "new" Katharine
Hepburn! You'll note that the cuffs
and revers of her smart lounging
suit are of velvet, diagonally quilted.

Dull gold metallic
woolen, a dramatic
fabric, was chosen
by Bernard Newman
when he designed
Katharine Hepburn's
lounging ensemble,
above, which Hep-
burn wears with all
her celebrated non-
chalance. Cowl
scarf; girdle care-
lessly knotted — looks
as though we're en-
countering "Hep-
burn Touches" in the
new clothes!

Photograph s of
Hepburn posed
exclusively -for

SCREBNLAND

Glamor School by
Bachrach

Bernard Newman
surpassed his "Ro-
berta" models in his
new designs for
Katharine's "Break of
Hearts" clothes. Just
look at the luscious
evening coat, above
— soft French blue
satin simply dripping
with silver fox! The
coat is cut in the
new "negligee" style,
casually clasped with
arrow-point clips.

News, introduced by
Hepburn, designed
by Newman: the
tailored Grecian sil-
houette! Left, the
new gown in action;
in the oval on the
page opposite, a
close-up. The fabric
is the softest of sil-
ver lames, finely
pleated in accordion
style. Over a sleeve-
less tunic goes the
knee-length coat.
See the scarf, cut in
jabot style.

SCREENLAND

amor

Beginning the New Novel
of Hollywood Life

By Vicki Baum

Author of "Grand Hotel"

Morrison, the casting director, felt
himself engulfed in a sudden wave
of warmth, of happiness, of affec-
tion for this sixteen-year-old colt
who — when she was a star in the
not too distant future — would
have him to thank for her career.

ILLUSTRATIONS BY ADDISON BURBANK

JRST, she's got to be young," said Stewart, ace
director with the Monarch Film Studios, and
blew a wisp of cigarette smoke through his
nostrils.

"Good and young," interpolated Driscoll. Driscoll was
merely the man who had written the script, and was
therefore interfering in matters that were none of his
business.

"Second," added Stewart, pursuing his monologue
thoughtfully, "she's got to cost us exactly nothing."

"Or at any rate, not much — " Driscoll put in hastily.
"After all, you'll have to spend something on the
part."

"Third," concluded Stewart, rising slowly to his feet,
"she's got to be able to do a little acting."

The men had been sitting on the staircase outside the
studio stage, whither they had repaired for a whiff of
fresh air and five minutes' relief from the glaring lights
of the set.

"Acting!" echoed Driscoll. "I'll say she's got to do a
little acting. Or she'll wreck the whole final sequence for
us." Having delivered which opinion, he stuck the rem-
nant of his cigarette into his mouth, and smoked it
furiously down to the edge of its gilded tip.

Morrison, the casting director — an apple in one hand
and the forefinger of the other thrust between the tat-
tered pages of his script — stared into space. "When
they don't cost anything," he observed at length, "they
can'': act. And when they can act, they cost plenty — not
to mention the fact that by that time they're worn-out
hacks." A final mouthful of apple took its /visible course
down his gullet, permanently enflamed by the heat and
dust and clamor in which he lived and breathed and had
his being.

Stewart flung him a sardonic glance. "O.K.," he-
growled, adjusting his belt. "Let's go — It'll have to be
Delara again, that's all. They've sunk half a million

into the production already. They'll just have to kiss
another hundred grand goodbye."

"Delara !" shouted Driscoll. It was a healthy shout,
yet no one was startled, since shouting here was the rule
and not the exception. "Say — " he went on, " — that
isn't even funny." Despite his attempt at derision, a
note of apprehension had crept into his voice. "Delara
as a fifteen-year-old innocent — ! You're not serious, Bill!
Listen — " he began pleading desperately. "D'you know
what the story's all about? Have you got the faintest
conception of the meaning of that scene ? You've got
to be able to see that girl's innocence — taste it, smell it.
That scene under the apple-tree's got to be steeped in
an aroma of youth, of virginity — "

"Yeah !" replied Stewart, cocking his right eyebrow.
For a moment he pursed his lips as though he were about
to spit, but thought better of it and, turning, mounted
the steps that led to the stage.

"Delara's thirty," Morrison called after him.

"Forty!" yelled Driscoll.

Stewart halted in his tracks. "Seventy-five," he re-
joined imperturbably. "And when she's a hundred, she'll
still be an actress. There's no one like Delara for scenes
under apple-trees," he gibed. "No one so blonde, so — "
Abruptly his voice turned savage. "Say listen — know
what I'd like to do with your scene and your apple-tree
and the whole blasted business — ? I'll give you three
guesses. — Come on! Let's go!"

Having wiped his hands on his handkerchief, Mor-
rison started lumbering up the steps but paused midway.
For Stewart still stood on the landing above him, his
face worn and haggard-looking.

"I'm fed up," he was saying softly. "I'd like to throw
the whole damn mess into the ash-can. I — ■ Listen ! Don't
you suppose I'd like to see something new and fresh and
natural — something human, for a change? You're sup-
posed to be a scout of sorts, aren't you, Morrison ? Well,

for June 1935

Vicki Baum really knows Holly-
wood as no other wo rld-fa mous
author knows it! She I ives mere,
works there. And she has woven
the heart and soul of Hollywood
into this great new serial, written
exclusively for SCREENLAND.

why don't you scout around and find something ? — some-
thing with the aroma of youth and virginity, for in-
stance. Go ahead — find something, why don't you ? —
find something — find something — " And turning on his
heel, he kicked the iron door open and vanished.

Morrison, watching the heavy door swing slowly back
into position, felt the other's words sink like barbed darts
into his consciousness.

MORRISON sat in the half-gloom behind the set,
where a cafe scene was being shot. The battered
script in its blue-paper binder lay open on his knees, and
he was concentrating with an intensity so fakir-like on
his own thoughts that he looked all but idiotic. He was
an old man and a wise one, this Morrison with his gray
comedian's head and his false teeth. He knew the movie
game as few others knew it — he'd been part of it from
the days of its infancy. He'd acted in pictures — with
moderate success ; and directed them — with no success
whatever. He'd made money and lost money. He'd dis-
covered stars — that they couldn't deny, at any rate — he
had a nose for talent that was famous in the business —
he'd discovered stars and watched them glimmer and die.

And now he was sitting here in the semi-darkness, ran-
sacking his memory for a face he had seen somewhere,
sometime in the past — .

A jazz band was blaring on the cafe set behind him,
and above its din rose Stewart's voice, amplified and
carried to the farthest reaches of the stage by the micro-
phone. Morrison sat there as though he were blind and
deaf, but his mind was painfully alive — occupied partly
with distress over Stewart's plight, but mostly consumed
by a burning eagerness to "find something."

"I spotted Maya Gay in that Tia Juana joint," he was
thinking. "I plugged Leslie Stephens when no one else'd
give her a tumble, and look at her now. I gave Delara
her first job twenty years ago — " The shadow of a
reminiscent smile crossed his face. "Standing there like
a wobbly little calf with her spindleshanks." He sighed.
"Find something — . Sure — just like that — find some-
thing— find something — "

He raised the script to his spectacled eyes, and for the
fortieth time reread the scene under the apple-tree — the
scene in which the hero of the story, who had killed a
man, was purged and redeemed through the sight of a
girl — half child, half angel — with a watering-pot in her

SCREENLAND

The Girl. Selected by the casting director
for a chance at Hollywood fame.

hand. He lifted his eyes — then turned suddenly rigid,
as the memory he'd been pursuing began to take form.
He sat there five minutes longer, his lips set hard over
his dental frontage — and at last he had it.

TEN minutes later he was in the wardrobe depart-
ment.

"Listen, Muhlmann," he said to the forewoman, who
was hanging Salvation Army bonnets on hooks, " — is
that Harrison kid here?"

"Harrison? Harrison?" She frowned. "What Har-
rison kid ?"

"The little one — you know — the skinny kid who
worked in 'Streets of Life.' Sort of reddish hair — "

"Lord, what a memory !" sighed Muhlmann. "That's
Betty Harrison. Yes, she's probably in the commissary
right now."

"O.K. Thanks, Muhlmann," and he strode out, down
the stairs, across to the commissary and over to the table
where a dozen Salvation Army lasses, in the golden-
brown make-up peculiar to the studios, were seated at
lunch.

"Hello, Betty," he said. "Listen — you've got a kid
sister. Right? I saw her here with you once at the cash-
ier's window. Sure I remember. That's what I get paid
for — remembering. Is she doing anything?"

"Not right now," answered Betty, rising politely. "She
had five days' work in January with Superfilms — "

"Never mind — get her here — but make it snappy. I
want her here in half an hour. Ring her up — "

"Oh, I — I can't — " stammered Betty, all but para-
alyzed with shock and excitement. "We have no — there
isn't any — "

"Sure you can," he interrupted, impatient now of all
denial or delay. "Go ahead and phone. Beat it — "

"What do you want her for, Mr. Morrison?" she
found strength to babble.

"That'll come later. Want to have a look at her first.
Half an hour then — in my office. So long, kids." He
happed a hand at the tableful of round-eyed extras, and
was gone.

The Casting Director. Commanded to find
a new girl for a big picture.

Drowning in a sea of wonder and fear, hope and con-
jecture, Betty made her way to the phone booth. But
before she'd reached it, she had managed to fight her
way to the surface and was swimming clear.

NOT that this business of phoning was a simple mat-
ter. First of all, the Harrisons had no phone. The
butcher across the street had one, but a five-minute call
to Alhambra would cost ten cents ; and even if the
butcher could be persuaded to send for Stella, the whole
process would certainly take longer than five minutes.
Betty sacrificed the dessert she'd already been smacking
her lips over on the alta-r of her sister's chance. Her ice-
gray eyes raced up and down the columns of the phone
book till they found the butcher's name. The butcher's
wife, after no more than the normal amount of
grumbling, departed on her errand, while Betty stood
waiting in the phone booth which vibrated to the tread
of feet across the commissary floor. Her own feet were
tapping wildly with impatience before she heard Stella's
breathless "hello" in the mouthpiece of the butcher's
phone.

"Stella — listen !" Her voice was strangled with excite-
ment. "You're to come right out to the studio. Now.
this minute — "

"What's the matter?" inquired Stella tranquilly, re-
mote as she was out there in Alhambra from the feverish
tempo of the Monarch Film Studios. "Where's the fire?"

"Morrison wants to see you. Something doing — "

"Who's Morrison ?" asked Stella.

Betty's nerves snapped. "Get going, will you? If you
take the car at the corner, you can — no — listen — take a
taxi and hurry — •"

"What do you mean, taxi ?" cried Stella indignantly.
"Who's going to pay for it?"

"Tell mother to lay it out. Good Lord, don't be like
that ! If they want you here at the studio, they'll pay for
the taxi. They want to see you here — don't you get the
point? — they want to sec you. Hurry — hurry — you
should be on your way right now — "

"All right," said Stella, {Continued on page 91)

How Does Hollywood Find and Develop Its Clamor
Cirls? Read Vicki Baum's Novel for the Amazing Answer!

for June 1935 2?

Marlene Looks Ahead!

Will the Delicious Dietrich reach new
dramatic fame or merely mourn
von Sternberg's loss?

By Leonard Hall

MARLENE DIETRICH stands at the fateful
crossroads of her film career today and raises
those glorious eyes aloft to two sign-boards.
One says, "To new heights in better pictures."
The other reads, simply, "This way out !"

The issue is now squarely up to Unser Marlene. Will
she be a good sport and a hard worker? Or will she be a
moping cry-baby? For the long-famous team of von
Sternberg and Dietrich has been rudely torn apart.
Hollywood's most famous artist-director firm has gone
out of business. From now on, Von~ goes his way, and
Marlene goes Paramount's.

Her producers have tossed a fresh deck on the green
table, and called for a new deal all round. No longer
will the hypnotic maestro with the handle-bar moustachios
wave his magic wand over the symphonic Marlene. She
has signed a new contract and will make her next film
with another stick-waver. Von packs up his genius and
seeks new fields to conquer.

Thus ends one of the most remarkable associations
Hollywood has ever seen — and the artistic life of one of
the most fascinating and baffling figures of the clay
reaches another thumping climax ! What will this gor-
geous critter do now? Will she start afresh, willingly
and hopefully, with another boss ? Or will she sit about
mourning the loss of her discoverer, teacher and guide
— thus going, very quietly but quickly, to heck in a
barouche? Don't we wish we knew? And doesn't Mr.
Paramount ?

The old team had to go. Its (Continued on page 80)

Marlene ponders the future, and glances back to the past
when she appeared with Emil Jannings in "The Blue Angel,"
a scene from which is shown above.

SCREENLAND

Fred MacMurray

BEST

Right, Fred MacMurray
in his first stage play.
Recumbent, center, is
Fred!

Left, in "Three's a
Crowd." Fred is the
object of Libby Hol-
man's attention.

When Fred was eleven,
at military school — the
close-up at the right.

On to fame! Meet
Hollywood's most
promising young
newcomers

HE IS tall and rugged and dependable looking.
He might easily pass for one of those bashful
young giants who carry ice in the summer, and
an inflated pigskin in the fall. He looks like
a pleasant sort of guy ; and on closer acquaintance you
will find he is all of that.

He is Fred MacMurray — the young actor who made
love to Claudette Colbert in "The Gilded Lily," his first
big picture. He liked that job so well, he decided to stay
in pictures. Pictures liked him so well, they decided to
keep him. No room for argument on either side.

Now that he is here, and here to stay, let me tell you
something about him. Born in Kankakee, Illinois, not
so very many years ago, he attended school in Beaver
Dam, Wisconsin. Yep, we both grinned at that bit of
personal history. Fred is such a good-natured chap you
laugh with him, not at him.

He played full-back on the high-school football team
although it seems to me he might have made a better end
with his six feet three inches of length, and 200 odd
pounds of bone and muscle. Later he made the freshman
football team at Carroll College, also in Wisconsin.

During his school days he fought shy of theatricals be-
cause he was so self-conscious he blushed and stammered
every time he had to face an audience. He learned to
play the saxophone and earned his tuition by working with
small orchestras about the town.

After his freshman year in college, he said goodbye to
the halls of learning and set out for Chicago to work in

an orchestra. A year or so later he made his first trip
to the West Coast and, in his own words, "jobbed around
with a lot of bands," finally winding up in the orchestra pit
at Warner Brothers' Hollywood theatre.

Probably all the Warner executives saw him at one
time or another tooting away on his saxophone, but none
of them picked him as likely star material. Which was
Warners' loss, and Paramount's gain.

During this period in Fred's career he made good use
of an exceptionally fine baritone voice, singing for phono-
graph recordings with nationally famous orchestras. He
also became interested in motion pictures and remembers
when he stood outside the gate at Paramount while the
new sound stages were being erected, wondering if he
couldn't slip in with the workmen and sort of "look
around the lot."

Finally he sought extra work, and with the aid of a
rented dress suit he found quite a few jobs at $12 per
day. "Had a lot of fun," MacMurray laughs, "and the
money came in handy too. Playing in an orchestra is
no way to get rich quick."

Fred made the jump from the orchestra pit to the
stage when he took a job with (Continued on page 88)

for June 1933

BETS!

Anne Shirley

Try to find Anne Shirley
in this group of kids at
the left! See her?

Anne herself, in person
and without make-up. A
veteran at seventeen!

By
James
Marion

FOURTEEN years in motion pictures — and now
STARDOM at seventeen ! That's the super-
condensed screen-life story of Anne Shirley, the
little girl once known as Dawn ODay, now
famous for tangling her slim fingers in the heart-strings
of a nation with her performance in "Anne of Green
Gables."

Anne Shirley is not merely cute; she's pretty, and nice,
and sweet, and the kind of a girl you would like for a
sister ; but she's just a youngster of seventeen and doesn't
pretend to be anything else.

"I don't see any difference," Anne admitted when
asked if her new status as a star had made any change
in her life. "I'm the same girl. I have the same friends,
do about the same things, go to the same places.

"You know," and she smiled — she did not giggle, "I
haven't even a car. But maybe I'll get a small one in
about four weeks. I kinda wanted a coupe — but I guess
I'll get a sedan."

Anne, or Dawn O'Day as she was known before
"Anne of Green Gables," entered the film world at the
ripe old age of three, playing with William Farnum in
a picture directed by Herbert Brenon in New York.

She's been in pictures ever since, without the usual time
out for the all-legs all-arms stage through which most
children pass.

Hollywood's newest young star has never had to worry
about looking older or younger than her age. As a child
she played child parts ; and as she grew up, so did her
roles. Anne maintains, despite many published stories
to the contrary, that she has never had a hard time in
Hollywood, where she and her mother came to live more
than twelve years ago.

"It was mother who had the hard time," she declares.
"When things were bad and parts were few and far
between, mother must have kept the facts to herself, for
I can't remember anything about them. I know now,"
Anne continued, "that mother often deprived herself of
something she wanted in order to make life happier for
me — but, honestly, we got along pretty well."

Although little Miss Shirley can rattle off the names
of pictures in which she appeared during her childhood
days, she confessed that she couldn't actually remember
working in all of them. She does recall, however, when
she played Janet Gaynor as a little girl in the film
"Four Devils." She also played "little girl roles" for
Frances Dee, Fay Wray, Barbara Stanwyck, Ann
Dvorak, Jean Arthur and Madge Bellamy. That is, in
screen-plays, she portrayed childhood sequences of these
stars.

"I told Joel McCrea that I had played his wife, Fran-
ces Dee, as a little girl," laughed (Continued on page 89)

SCREENLAND

Naughty Marietta— M-G-M

YOU'LL thrill to this! The most distinguished singing
picture of the new season, "Naughty Marietta" has a
vigor and vitality too often missing in our musical movies.
Reason : first, W. S. Van Dyke's forthright direction ;
second, Nelson Eddy's arresting voice and presence; third, the
color of the locale, picturesque Louisiana in the 18th century. Of
course, to me, it's Nelson Eddy's picture. Jeanette MacDonald
is charming, both vocally and optically ; she endows her role of
the runaway French princess with gaiety and sparkle ; but she
is, after all, "Merry Widow" MacDonald — again ; while Mr. Eddy
is very new, very handsome — and different. You've never seen a
movie hero like him before ! He has a really splendid voice, but
he appeals first of all as a manly figure, romantic but believable.
As a dashing soldier of the Southland he rescues the fair princess-
in-disguise from pirates — it's that sort of a swashbuckling story —
falls in love with her without learning her identity, pursues her,
protects her, and finally — "Ah, Sweet Mystery of Life !" Victor
Herbert's music lives again, beautifully sung. Don't miss this !

"yi - SEAL- OF!

Reviews

of the best

D :

i ctu res

Farewell To Love — Gaumont-British

TITLED "The Dictator" in its native England, this
handsomely mounted and beautifully acted picture will
please the more conservative screen audiences who may
be fed up with musicals, murders, and air epics. Written
and directed in the leisurely manner, it is nevertheless a satisfying
screen play if you like your history in romantic guise. I do !
Particularly when the very lovely Madeleine Carroll — how nice to
see her again — and the courtly Clive Brook play the principal
roles of the unhappy Queen Charlotte Mathilda of Denmark and
Dr. Struensee, the peasant's son who becomes a power at court.
Their romance, doomed to flower in shadowy .court corridors,
amid an atmosphere of brazen intrigue, is destined for disaster ;
but it is none the less appealing ; and the charm and character of
Miss Carroll and Mr. Brook lend a warm human interest to the
historical personages they play. The care and good taste almost
invariably distinguishing British pictures are in evidence here.
The acting is superlative, with excellent performances by Helen
Haye, Emlyn Williams, Nicholas Hannen, and all the others.

Go Into Your Dance — Warners

YOU'LL want to see Ruby and Al acting together for
jS™)) the first time, and here is your great chance ! The Jolsons
have a field day in this big new, fast-moving, and munifi-
cently staged musical comedy-drama ; and if you like one
or both of them, you'll have the time of your life. There is a dis-
arming quality to "Go Into Your Dance" which will probably win
you, because both stars are so happy to be in the same picture at
last ; and their scenes together, particularly, betray their whole-
hearted enthusiasm for each other, for their co-starring film, and
for the world at large ! It's rather sweet, at that ! Al sings, and
how he sings. Ruby dances — really dances ; tap, rumba ; whatever
you want. Miss Keeler, indeed, comes into her own ; she has
never been so utterly charming, nor exhibited her terpischorean
talents so definitely. Al does an excellent job of acting as a
Broadway star who "comes back" with li'l Ruby's aid. Yes —
there's a "Mammy" song! Good numbers, not too long. Glenda
Farrell, Patsy Kelly, Helen Morgan score. But it's the jovial
Jolson and his lovely wife who put over this picture.

for June 1933

Finest Picture of the Month:
"Private Worlds."

Best Cast of the Month: Claud-
ette Colbert, superb; Charles
Boyer, fascinating; Joel McCrea,
surprising; Helen Vinson and
Joan Bennett, excellent — in "Pri-
vate Worlds."

Personal Triumph: Nelson Eddy
in "Naughty Marietta."

Best Musicals: "Go Into Your
Dance" and "Gold-diggers of
1935," with the Al Jolsons scor-
ing in the first; and Hugh Her-
bert, Adolphe Menjou, and Alice
Brady in the second.

Private Worlds — Paramount

NOW, here's a picture ! Not only the finest of this month,
but one of the most intelligent films ever made. Hats
off to Walter Wanger for his daring in producing Phyllis
Bottome's novel of real people in a world of shadows.
Light shines in dark places in this courageous presentation of a
delicate subject: life in a mental hospital, told from the point of
view not only of the patient but of the doctors. Chiefly, "Private
Worlds" presents the personal problem of a fine young woman
doctor, exquisitely portrayed by Claudette Colbert, in her fight
to find herself and fulfill her destiny as a woman without sacri-
ficing her career. Every woman will be touched by her struggle ;
by her sympathy for her patients ; by her understanding of the
domestic problem of her colleague, so splendidly played by Joel
McCrea, and his wife, Joan Bennett ; and by her final capitula-
tion to the new, and foreign, superintendent, the darkly fascinating,
deeply intelligent Charles Boyer. Director Gregory LaCava has
handled every scene and situation with rare sensitiveness and re-
straint. Claudette really wins her Award in "Private Worlds."

West Point of the Air— M-G-M Gold-Diggers of 1935— Warners

THE billing may read: "Starring Wallace Beery"; but
in spite of Wally's usual robust performance, the real
^ISljjk, star of this air picture is — the cameraman. This unsung
hero deserves most of the credit for those scenes which
make "West Point of the Air" a worthy evening's entertainment.
The aviation stunts are distinctly thrilling, bringing up all over
again that old remark, "How can they ever do it? And zvhat
will they find to do next ?" I don't know, to both questions. Sure-
ly, though, this is the air epic to end air epics, with its stunning
shots of planes in action, although the "rescue" in which Robert
Young, as Wally's son, saves his father from a burning plane, is
reminiscent of the old serial days, and not half as exciting. The
trouble is with the story : good old Wally, as a veteran flying
instructor, is ambitious to make his weakling son an air ace:
sweet Maureen O'Sullivan helps; family, friends, and the audience
are engaged in the struggle to "save" the son who. frankly, isn't
worth it. Not Robert Young's fault; it's the role. But small
boys will love the stunt stuff — and their pal Wally. He's grand.

THE maddest and the merriest of all the wild musical
melanges that Warner Brothers have been turning out
since, it seems, Shirley Temple was a mere babe in arms.
This new "Gold-Diggers" is grand fun. Faithful to the
formula of preceding films in the series — but don't rush to con-
clusions. Perhaps you do think you know all there is, and there
just isn't any more to these elaborate numbers which crowd the
screen with girls and glitter. But that's not all you get in this
show-piece — not by several performances from such terrific
troupers as Hugh Herbert, Alice Brady, Adolphe Menjou, Dick
Powell, Gloria Stuart, Glenda Farrell, and others. The comedy
ripples along, with not too many interruptions, to its hilarious
conclusion before the "big" scenic numbers take the screen. The
plot — oh, yes, there's a plot, all right — shows a group of males
as the gold-diggers this time, with Hugh Herbert leading the
revels, Dick Powell as an impecunious hotel clerk, and Menjou
as a fiery stage director desirous of annexing Miss Brady's mil-
lions. Hit numbers : "Broadway Lullaby" and the piano spectacle.

SCREENLAND

Preview f.oshes from

greatest picture. .'OUR LlTflf

by Jerry Halliday

She plays at being happy to
rebuild a shattered dream!

CONGRATULATIONS, FANS, here
comes Shirley! How you'll thrill
to this human story of a child
and her parents whose happiness
is suddenly threatened! And how
the tense, dramatic climax will stir
the heart of everyone from Grand-
dad to Junior as Shirley's love tri-
umphs over a family crisis. A
"m::st-see" picture!

If ther.-; can be anything
more adorable than Shirley
alone, it's Shirley with Sniff,
her loyal companion.
•

SHIRLEY DANCES AND

SHE SENGS . . . TOO!

Rosemary Ames and Joel McCrea
give true -to -life performances
as the parents who grope
in the dark shadows of
misunderstanding.

You'll love Shirley's lul-
laby, "Our Little Girl."

"COME ON OVER AN!
SEE MY STATU El"

Forgotten (for the moment anyway)
are Shirley's dolls and pretty dishes.
Shirley is still telling friends about the
nice, fat man . . . (Irvin S. Cobb to you)
. . . who traded a bee-you-tee-ful statue
for a hug and kiss! Dear little girl, I
wonder if you'll ever know the happi-
ness you bring to millions of people.
Special Academy Award? That's noth-
ing to the good wishes the whole world
sends you!

TEMPLE

'OUR
LITTLE GIRL'

ROSEMARY AMES
JOEL McCREA

Lyle Talbot • Erin O'Brien-Moore

Produced by Edward Butcher • Directed by John
Robertson • From the story "Heaven's Gate" by
Florence Leighton Pfalzgraf

SCREENLAND
Reveals

The r omance.

The B eauty
of tlie
World s Oreat
Capital of CKarm!

As a special favor Janet gracious**
ly consented to show us her fa«=
vorite clothes from her personal
wardrobe, designed for her by
Rene Hubert. On this page you
see her garden-party dress, of
candy * striped flesh " pink silk
voile, topped by a blue taffeta
jacket. Janet's hat, of natural-
color leghorn, boasts a straw«lace<*
edged brim and a garland of
bright flowers.

NOW turn the page!

Living Fashions exclusively posed jor
ScitEENLAND by Janet Oaynor and
photographed by Otto Dyar, Fox Films

First, ScREENLAND presents

LIVING FASHIONS

Posed ty JANET GAyNOR

SCREENLAND'S LIVING FASHIONS

Through the Fashion Day

with Janet— MORNING!

Come out into the sunshine with the Gaynor girl! As she looks over her
potential peach crop on her miniature estate Janet is wearins a "covers
all" frock for her tennis shorts and blouse. Made of white waffle pique,
the tennis ensemble was designed and created for Janet's personal wear
by Rene Hubert. The neck scarf is of red and white wash silk.

Janet on her way to her ten-
nis court is still wearing her
"cover»all." Below, in ac«
tionl Now you can see the
"waistcoat" effect.

NOON anJ

AFTERNOON!

Janet Gaynor's "Living Fashions'" day pre
gresses! Top, she stands a moment at her
own rustic sate before leavins for a lunch
date, so that you can make notes on her
very simple but very charming suit. The
skirt is light-weight navy blue wool, per-
fectly plain. The blouse is white waffle
pique with peasant sleeves and a clever
closing design: little suede straps and
buckles in red, green, and yellow. Now
wait a minute, Janet! Go back and put on
your matching cape. Thanks! Just one
minute more while we note your hat, of
navy blue wool, your shoes, also navy, and
your handbag and gloves of white doeskin.

The leisure hour! Janet is ready to greet a friend or
two for afternoon tea. She hates to feel "dressed up,"
so she asked Rene Hubert to design a wearable after-
noon frock with this result: red and white striped wash
silk enlivened by a red suede belt. See the interesting
use of the striped fabric?

SCREENLAND LIVING FASHIONS

posed by JANET GAyNOR

EVENING!

Janet Gaynor is one screen star
who refuses to "work at it" and
scorns the spectacular after studio
hours, so when she goes dinner*
dancing she wears this simple en«
semble, suitable for Every»Girl.
The dress, in plaid effects in russet,
brown and beige, is fashioned high
in front with crossed-«uspender
straps in the back. The skirt is
very full, the extra fullness sup«
plied by the godets. See the saucy
Eton jacket!

Something new in a
negligee: the "Pre«
historic/' designed on
straight lines with
bright red sash, to be
worn over Janet's white
satin paiamas. The
trick fabric, ivory
white, is fashioned of a
long silky nap on a silk
crepe background.

Real Living
in Hollywood!

Joe's Trophy Room is
his pride and joy.
Above, he shows you
the kilo bat, used in
Hawaii's popular game.
Left, discovered: a grin
wider than Joe E.
Brown's! The Chinese
mask is a trophy of the
Browns' world tour.

The smiling comic is one of Hollywood's real home men. Above, a
view of Joe E. Brown and two of his sons showing you over his Bev-
erly Hills home. Below, the family: Joe E., Mary Elizabeth, Mike,
Joe E., Jr., Mrs. Brown, Kathryn Frances, and Don.

Joe E. Brown and
his Family at Home

A spot to delight
the hearts of small
boys of all ages:
Joe in a corner of
his Trophy Room,
with glass cases for
his valuable auto-
graphed sports tro-
phies collected dur-
ing a lifetime.

THE real Gary, as he looks' on vacation, not loca-
tion! Soon to start work on a new picture, when
his expression will probably change from carefree to
conscientious, even though his leading lady will be
none other than Claudette Colbert!

LIVING Personality Portrait

of Gary Cooper

Eugene Robert Riehee-

kTHLETICALLY engaged above are: Alice Faye, rope-skipping; Will Rogers, polo; Mary
Boland and Charlie Ruggles, dancing; Betty Furness and Elisabeth Allan, sunning;
Al Jolson and Ruby Keeler love the action of stage dancing.

:'r

Off Duty!

"Not acting
here! Your
favorites greet
you as they
really are

Off-duty, Warner Baxter is as
debonair as his screen self,
but he likes the out-door life
and lives it.

Living his own life, Dick Powell,
good-humored, but a chap who
seems inclined to look well before he
does any leaping.

Recognize the lady at the right as
Mary Roland? Yes — but you seldom
see Mary as serious as that on the
picture screens.

Fred Astaire believes that dancing
makes you happy, and this off-duty
shot seems eloquent evidence that
he's quite right.

Dick Barthelmess, whose calm and
poise in real-life is a characteristic
missing from his recent screen roles.

On Duty!

lit character! Note
how slight changes
affect personality

Baxter as the dashing Latin he creates
for "Under the Pampas Moon," is
quite different from the real Baxter in
the other pose.

Fred Astaire at the left is playing his
part as a band leader, so you note the
change from his off-duty self.

Dick Powell as a romantic figure
in Shakespeare's "A Mid-sum-
mer Night's Dream," above,
with Olivia de Haviland.

Left, Mary Boland becomes flut-
tery and excitable — doing her
duty in portraying a character for
a screen play.

Richard Barthelmess the actor, at right,
as the hunted character of "Four Hours
to Kill,"— life, but not Dick's life.

Jean steps out in "Reckless,
her co»starring fil th
^^illiam Powell. Center, shoot*
ing a scene of Harlow and her
partner, Carl Randall, doing
"La Tromhoso/' new dance
creation we show you here

Irene Ware does a Diana, both in "Night Life
of the Gods" and arrayed for the beach. This
is one of the suits with a trick — the cord per-
mitting Irene to drop her shoulder straps for
sun-bathing with perfect poise.

Sally Eilers, center, selects her favorite halter-
neck swim suit to pose in for you. Sally likes
the sun, and sun-tan is highly becoming to
Sally; and this is how she gets

it.

'Ware Irene in this suit — excuse it, please!
What we mean to say is, here's Irene again,
and welcome, wearing her pet swimming suit —
and probably ours, and yours, too.

Irene Ware is shown, first, in the "Bra-tuck." Sally Eilers is
wearing the "Halter-neck" model. Irene Ware is shown also in the
"Neck-lace" suit. All models are from Jantzen Knitting Mills.

LIVING SUN FASHIONS!

SCREENLAND presents
Shirley Temple in

The Most Beautiful Still
of the Month

THE sweetest star of them all captures our page
this month in a scene from "Our Little Girl,"
her latest film. Left, with Joel McCrea, Shirley's
new "leading man." Right, little Miss Temple

Vidor in close-up, and, right, in action
The great director of "The Big Para
"The Champ," "Our Daily Bread"
other fine films gives you an actual
of how Hollywood's megaphone
really work.

By
Sydney
Valentine

Is Anna Sten truly tempera-
mental/ Read this story and
you'll know the answer!

Gary Cooper, whom Vidor ad-
mires and enjoyed directing
in "The Wedding Night."

Stars7 Temperament?
Smoke Screen! Says Vidor

TEMPERAMENT is just a smoke-screen or

device designed by an individual to disguise

inabilil of to cover up an inferiority complex.

It is moved and the temperamental

person is easi if the handler recognizes just

what tempera is."

That was th( ;ply made by King Vidor when
this writer a im define "temperament," and to
tell how he successful in directing players
noted for tr ei mental outbursts, except when
working for smiled when he noticed a some-
what doubtf iol my eye.

"Have yc 1 an actor display temperament
when everytli Ding smoothly and his work was
receiving tr director, producer, and all those
connected vture?" asked Vidor when I sug-
gested that "I don't believe you have," he

continued.

:ave I." And try as I would, no

case of temperament under smooth-sailing conditions
would come to my mind.

"I have given this matter of temperament a lot of
thought," continued Vidor. "When I first came into the
film business I was a bit awed by some of the outbursts.
Then I began to analyze those players. It suddenly
dawned on me that they were trying to hide something;
trying to evade something. Actually, they were, in prac-
tically all cases, trying to create a furore to make other
people overlook the fact that they were unable to say
certain lines or do certain things which the director was
asking them to do. It was just an attempt to make the
director forget they were incapable of carrying out those
things which they as players should be able to do. In
other words, they couldn't do what they were supposed
to do, but as they suffered an inferiority complex, they
did not want anyone else to know their failing.

"I am not attempting to (Continued on page 94)

SCREENLAND

From "The Big House," above;
Bob Montgomery and Beery.

Wally and his beloved adopted daughter, Carol Ann. The
famous star's devotion to this tiny girl is one of Hollywood's
most inspiring legends and finest sights.

THE screen career of Wallace Beery was born so
long ago that many of you who will read this
story were not then living. Beery's screen biog-
raphy began in 1913, to be exact, which makes
that career just twenty-three years old today.

And what a career it has been ! It is "Mister" today,
but it started out "Missus;" Beery's first screen work
was in the guise) of a Swedish maid, in comedies made
by the old Essanay Company of Chicago — if you can
remember that far back. Incidentally, let it here be told
that some of those very old comedies were recently
shown at a State Fair in the mid- West, and Beery re-
ceived several fan letters addressed to "that funny
Swedish maid." Such is fame !

For almost two years, Wally daily donned bundles of
petticoats and skirts, padded himself to husky feminine
proportions, and performed feats in front of those old-
time cameras that caused the work-crew to howl with
laughter. You see, it was Beery's job to be as bungle-
some as possible, and he hardly needed rehearsals.

Cinematic
History

"I wasn't just an actor — or should I say actress? — in
those days," Beery recounts now. "I co-directed, helped
operate the camera, aided the electricians, assisted in
dressing sets, and participated in everything else that
was clone. Louella Parsons, now the noted Hollywood
columnist, wrote the stories for my Swedish-girl com-
edies. They called those comedies a series. Series, heck
— we turned 'em out one or two a week !"

In 1914, Beery became a director Hp was no piker;
he directed Francis X. BushmaiV the Clark

Gable of his day, if not more so. /Vally went

to California with "Broncho Bill 1. His job

was studio manager, but he coul success of

the financial end of the business, led.

for June 1955

Left, as Long John Silver
in "Treasure Island."

With Virginia Bruce in "The
Mighty Barnum;" Wally as "P. T."

Tracing the colorful career
of the most natural actor of
them all — "Wally

James M. Fidler

He went to Japan with the first picture company to
attempt such a then unheard-of location trip. The ven-
ture flopped, and Wally returned to California, this time
to begin anew the acting career he had deserted in Chi-
cago. He became a Keystone cop !

Soon he advanced to the position of featured actor,
and his salary reached the amazing total of $125 a week.
In those days, that was about the same amount of money
as what we endearingly describe as "the war debt" to-
day. It was about this time that Beery met G-ioria
Swanson, and fell in love with her — as who hasn't ! He
got her a job as a Sennett bathing beauty, and in 1916
they were married.

Relation of the marriage incident may seem to have

Big-hearted Wally Beery with "Gypsy," the springer spaniel
who accompanies Wally everywhere, even on his airplane
jaunts across the country.

no place in Beery's cinematic life story — but it has. Be-
cause, when he and Gloria were divorced, Beery was so
despondent that for months he lost all interest in his
work, even in life itself. During this "blue funk" period,
he lost his movie job, and for nearly two years he fumbled
around Hollywood. He tried to rejuvenate his interest
by directing comedies at Universal. This was in the
days when there were no casting offices. Extras hung
around outside the studios — men and women — and when
they were needed, an assistant would step to the gate and
whistle, and the extras would come a-running.

Mickey Neilan was the director who changed Beery's
life from good to bad ; that is, Mickey took this down-
and-out comedian and gave him a new screen job — as a
villain. It was in a picture titled "The Unpardonable
Sin." Beery's unpardonable sin was that he mugged
so much, he stole the picture. So he became a success-
ful villain.

In rapid succession he played heavies in "Behind the
Door," "The Devil's Cargo" (Continued on page 68)

Screen land

he Long Arm

Truth that's stranger than fiction about many Hollywood
stars! We dare you to read this story without asking your-
self: "Would I be a star if that had happened to me?"

By Winifred Aydelotte

" ~Y~ F IT hadn't happened that I was an especially bad little girl on one certain
! night that Frank Borzage had dinner at the Plaza in Dublin, Ireland, I
wouldn't be on the screen today !"

Maureen O'Sullivan looked at me and grinned ingratiatingly.

"How's that for a coincidence? I'll bet I have the best coincidence of anybody
in Hollywood ! It was this way. I'd been out every night for a week, and mother
said I couldn't leave the house that evening. Well, somebody had asked me to
have dinner and to dance at the Plaza and I just couldn't let that pass. So I said,
dutifully, 'Yes, mother,' and went up to bed. But there was a balcony and a
convenient vine. Anyway, I had a grand time. But if I hadn't been especially
naughty on that certain night, Mr. Borzage never would have seen me or sent his
card to our table asking if he could speak to me ; I would never have met John
McCormack and played in his picture ; I would never have come to Hollywood,
and I would never, never have had the thrill of playing in "David Copperfield."

The long arm of coincidence !

It encircles the waist of the world, and it has a strangle hold on Hollywood.
There is scarcely a player on the screen today whose emotional or artistic career
has not been vitally affected by a coincidence.

"Just because it happened that — "

An empire has tottered on those words ; fortunes have been made and lost ; homes
built or broken —

Well, anywav, inspired by Maureen's story, I went coincidence hunting. It's
great sport. Try it sometime on your typewriter. Look what I bagged !

Just because it happened that Sam Wood had a daughter in the same school at
Pomona that Joel McCrea was attending, Joel today is a film star. It also hap-
pened that little Miss Wood was chosen for the leading role in the graduating
play, with Joel appearing opposite her. So, of course, Mr. Wood went to see his
daughter act, his eyes glazed with parental pride. But he came away instead with
a deep impression of McCrea's histrionic ability, and arranged for him to be
tested for films.

Slipping stealthily over to Paramount, I surprised another coincidence. Re-
member Mae West's famous first line? The first thing she ever said on the screen
was in answer to the check girl's exclamation, "Goodness! Where did you get
those diamonds?" And Miss West's line was "Goodness had nothin' to do with
it, dearie."

Well, just because it happened that the script called for Mae to wear a heavy
beaded gown ; that the director wanted her to come in on a trot and break into a

for June 1935

Marlene Dietrich Boris Karloff Joel McCrea

good fast canter toward George Raft ; that the gown was so heavy she couldn't
even get up a momentum ; and that Mae West happens to be able to write lines
like nobody's business, the immortal remark was born.

"I'm going to walk " she told the director. "Nobody can romp around in orchids,
ermine and diamonds. I want to come in slowly, throw my wrap off and say
something to cover up the snail's pace Raft-ward. How about my saying — ?"

And that is how it came to pass that America went around for so long, slurring,
"Goodness had nothin' to do with it, dearie."

One of the most famous of the Hollywood coincidences is the one resulting in
the marriage of Mrs. Christine Lee and Ricardo Cortez. I got in on the wing
with one shot.

Erie Kenton, a director at Paramount, planned a small party one night. He
telephoned Mrs. Lee and asked her to come and bring a man.

"Oh Erie," said Mrs. Lee, "I don't believe I can come. I'm just worn out —
frightfully tired — and, besides, there isn't a soul I feel like bringing."

"All right, suit yourself," said Mr. Kenton. "We won't plan on you, but if
you should change your mind, just come along alone."

Then he phoned Ricardo Cortez and asked him to come and bring a girl.

"Oh Kenton," said Cortez, "I just don't feel up to going out tonight. I'm
exhausted — worked all day. And, besides, there isn't a soul I feel like bringing."

"All right," said Mr. Kenton, a trifle discouraged, and repeated the rest of the
little speech he had made to Mrs. Lee.

Later that evening, when he had given up all hope of either one of them coming,
the director was delighted to hear Mrs. Lee announced. She was alone. And
then, close upon her heels, came Ricardo — also alone. And they met, fell in love,
and were married. Just because !

"We can't get over it," says Cortez. "Neither of us wanted to go to that party.
We both felt miserable. And both of us must have changed our minds at about the
same instant. And if it hadn't just happened that — oh, migosh!"

The next coincidence I crept up on was — Just because Miriam Hopkins, a
dancer, fell downstairs and fractured her ankle the very day her ballet troupe was
leaving for a South American tour, she is now Miriam Hopkins, a film star.

More than anything in the world, she wanted to be a dancer. And she was —
until she took a header down a long flight of unsympathetic stairs just a couple of
hourc before she was to get on the boat. She spent the subsequent few weeks in
the hospital, thinking. What was the next best thing to dancing? Musicals! So,
after she left her white iron bed, she got herself a part in "Little Jesse James,"
whence she graduated to comedy. She ankled her way into the movies just because
a carpenter once built a certain flight of tricky stairs !

Marlene Dietrich is also the result of a coincidence. And I had to do a little
skirmishing for this one. George Bancroft, Joseph Von Sternberg and a couple
of little pieces of pasteboard form the coincidence.

It just so happened that Bancroft, visiting in Berlin, bought tickets to a music
hall, and then, when the time came for going that evening, couldn't drag himself
away from the house. He had seen the show before, anyway. So he telephoned
to Von Sternberg, with whom he had been palling around Berlin, and said, "I just
don't feel like going to a show tonight. Can you use my tickets ? There's a woman
at this particular music hall, by the way, who'll sing you right into the aisle."

And it happened that Von Sternberg had nothing better to do that night, and so
he took the tickets. And coincidence wrote a very brilliant chapter in Hollywood
history.

Once upon a time, Allen Jenkins and James Cagney were chorus boys in a
musical show in New York, "Fitter Patter."

Just twelve years later .to the day, Jenkins was walking (Continued on page 96)

SCREENLAND

Walking to Health

oan Crawford
swings blithely
along — left.

Ann Dvorak, chin
up, strides to

IF YOU walk well, you look younger. You
also look slimmer and very much smarter,
no matter how much you can afford to
spend for clothes. So this month let's
talk about walking !

Every screen test that means anything to a
film producer includes a shot of the person tested as she
goes from here to there. How she "gets over the
ground" often means whether or not she signs on the
dotted line. Watch yourself next time you pass a
long mirror or shop-window and see if you'd "get by."

The correct way to walk is to hold your head up, your
eyes following a line about two inches above your eye
level ; hold your shoulders back easily, not stiffly ; hands
at sides, open, with thumb in line with your thigh. As
your left foot advances, your rig lit hand should swing
forward — not too far ; as your right foot advances, your
left hand should swing forward. You walk, heel and
toe, heel and toe.

A woman's step is normally about twelve inches long;
a man's about eighteen inches.

To walk well, you must neither hurry too much nor
dawdle along as if you hoped you won't get there. Haste
causes nervous tension and dawdling usually means
slumping.

Since what we are after is a Hollywood Figure, it
would be a good thing for you to observe how Holly-
wood's players convey themselves over the ground.
Watch them every time you see them in a long shot.

Help yourself to a Hollywood Figure
with James Davies' advice

No, I don't mean that you should watch
Mae West or imitate her mode of loco-
motion. Mae has made her walk a trade-
mark. It's unique and it's amusing when
she uses it, but if anyone else did it, it
would be ridiculous.

If you are tall, you might watch
Carole Lombard, or Gail Patrick, or Kay
Francis. Carole isn't as tall as the others,
but she gives the impression of height
because she has length of limb and is
so slender. Each of these girls takes a
fairly long step, but if you will observe
them carefully, you will notice that none
of them takes (Continued on page 84)

Rosalind Culli, George
Raft's new leading lady,
demonstrates the right
way to walk, at the
right; and the wrong
way, below. Follow the
right Rosalind!

for ] ii n e 1933

Radio Parade

Catching up with much-traveled
Maestro Bernie and some other
personages of air-way fame

By Tom Kennedy

HAT with
Ben Bernie
shuttling
from coast to
coast, doing films in Hol-
lywood and stage appear-
ances in New York and
'way stations, it's no cinch
catching up with the Old
Maestro in person these
days.

Even so, the chase itself
is about as breath-taking
as a ride on an escalator
compared to the doings
when you meet up with
the Maestro in or near a
broadcasting studio. In the
game of showmanship,
Bernie always seems to be
leading with aces — and
that's exactly what he was
up to when we caught him
at rehearsal for that show
in which the Maestro pre-
sented Ethel Barrymore,
Queen, and The Top, of
the Royal Family of the
theatre, as his guest star.

Ethel Barrymore,
known far and wide as
the First Lady of the
theatre, and the critics'
severest critic, was coming
to the microphone to spoof

Shakespeare, bait Bernie, and play "Rhythm in the Rain"
on the piano, to the beat of the Maestro's baton and the
accompaniment of All The Lads !

And if you think that Miss Barrymore didn't enjoy
doing that show as much as anybody in it, you'll have to
guess again. Moreover, right then and there The Barry-
more busted wide open an old and honored legend that
she can be only the imperious lady when she participates
in anybody's show. Visibly wincing from the distress of
a painfully injured ankle, Miss Barrymore was the
gamest, most patient and eager worker in the band — and
she was just a member of the band so far as the "Rhythm
in the Rain" number was concerned.

As to the Maestro himself, the always unctuous and
slyly gay guy is doing .ill right — he thanks you. Bernie

Ben Bernie, up and coming
film star, above with Grace
Bradley in "Stolen Har-
mony." Left, as the Maestro
of the mike.

seems to thrive on his
work — and he man-
ages to keep as busy
as anybody in show
business.

For one thing he
has mastered the trick
of making his bosses
want him just as much
as the radio public
does. But that, of
course, comes to the
same thing. Anyway,
his present sponsor
has hung on to Bernie
for four years, and
has already taken up
the option on another
contract.

The Maestro stars
in his second film fea-
ture with the release,
on or near the time
this very journal is
scheduled to reach the
news stands, of
"Stolen Harmony," in which Bernie shares honors with
such screen celebrities as George Raft and Grace
Bradley, Roscoe Karns and others. His first picture
was not such a successful venture, but the picture peo-
ple will get the Bernie personality over on the screen
eventually — maybe with "Stolen Harmony" — because
there's plenty of public demand for the Maestro. That's
proved by the fact that theatres now gladly pay seven
times as much for Bernie's personal appearances as they
did before he reached the millions via radio.

Peg La Centra, pint-sized package of giddyap with
the big contralto "blues" voice, plays hunches in making
important decisions . . . thinks maybe she should have
changed her name, "because (Continued on page 87)

SCREENLAND

"Come and get me,
Sunshine!" Jean Parker
seems to say. Hats are
off and let the winds
blow! Does she like it?
Looks that way.

MAYBE you'll just sleep in the sun.
Or maybe you'll throw out your arms to the
wind and let it blow through your slacks in
shivers up your spine.
You say you'd rather fling your hat into the lake and
turn handsprings? An excellent idea. Go ahead.

For beauty has come out in the open. It's lovely to
do as you please !

Jean Parker has set this new out-of-doors fashion of

Beauty
Comes Out
n the
OPEN

Hollywood takes its beauty
back to nature

By Josephine Felts

which the one rule is naturalness. She's a real girl, Jean
is, half pixie, half pagan, altogether lovely. And now
that Summer is sailing down the wind toward us, its
decks piled high with sky-blue mornings and sea-green
afternoons, keep your eyes on Jean. She loves to ride
and hike and swim, to do all those things you love to do.
She does them all, beautifully, and so will you if you
listen to these words of wisdom !

Get ready ! Your summer wardrobe and your summer
face. Don't wait until the night before. You know what
a disappointment that summer dress is when you wake
up some morning to find that the hot weather is here and
that you, totally unprepared, must rush out and shop.

The same is true about your skin. You should have
your summer face all bright and glowing, with winter
all thawed out of it by the first of June.

Now it isn't as important as you think it is, maybe,
but you will have to decide first about tan. Of course
you may make up your mind not to tan, and then some
fine day, let the sun fool you. A brownie in spite of her-
self, is what many a summer gal turned out to be.

But in case you're the deliberate type who makes up
her mind and then does things, take this into considera-
tion. Flower prints, particularly gay ones, make a
tanned skin look like a lovely dream. And flower prints
are so much in the fashion picture that I understand the
flowers are holding protest meetings in the fields, com-
plaining that the fashion designers ha^ stolen their stuff.

Daisies, leaves, primroses, violets, even chrysanthe-
mums, believe it or not, are flashing their colors from the
summer fabrics. If this idea .nakes your heart beat
faster and you decide to print v Jar way through the sea-

for June 1933

Hands and arms are lovely,
too. Why hide those
shoulders, Jean?

son, then you'll
want a tan to go
along.

Then provide
yourself from
the very first ray
of sunshine, with
the necessary oils
and lotions to
achieve the right
tan as promptly
as possible.
Summer is only
three months
long and if you
are not careful,
you are going to
be just ready for
it when the
school bell rings
and we all have
to come troup-
ing back indoors.
If you are to be
a pink and white
girl, instead of
the sunburn oils
and lotions, put
your hands on
the protective
creams and pre-
pare to work

hard to preserve the pristine loveliness of your
skin. But whatever you decide, you must first
have your skin like satin so that the tan you
do acquire, dark or light, will slip on soft and
smooth as a shadow.

If you start right now, you have a month in
which to get ready. So begin tonight. Do this
regularly as clockwork. First, smooth in a
good rich cleansing cream. Let it stay on for
five or six minutes before you remove it. Then
take unto yourself a complexion brush, the
softest, gentlest one you can find, and with a
mild lather of your favorite facial soap, rotate
it over your entire face and throat. Get into
the crevices, mind you.

This brush is a grand idea. For three rea-
sons : it works off the invisible cuticle that is
making your skin look dull. It dislodges
blackheads and does away with impurities that
lodge under the skin. And it stimulates. Be
gentle, though ; and rinse your face with warm
water immediately after. Then with cold —
but not too cold. And never use ice on your
face. Leave that to the specialists who know
exactly how — and where.

After this a good rich nourishing cream.
If you read yourself to sleep at night, put it
on just before you pop into bed, and take it
off just before you drop off to sleep. You need
not keep it on all night. Your skin will absorb
all it needs in half an hour.

Twice a week, between the cleansing and the
use of the nourishing cream, give your skin a
stimulating treatment. Any one of several
stimulating creams, occasionally they are called
masks, will do the trick for you. Spread the
stimulating cream on after you have removed

Picture of a pixie in a rock garden. Imagine a
tan against that gay print, and bright red nails!

the cleansing cream. Take it off after ten minutes and
smooth in the nourishing cream. You will find your skin
glowing and more alive. Your color will be better next
day. So much better that you will feel a great tempta-
tion to use the treatment every day. Resist it ! For
twice a week will be enough.

Your back and shoulders are going to see a lot of sun-
shine this summer. You'd better begin pampering them
early in the game so that they will pamper you later
when their turn comes. Rub in the nourishing cream
regularly every night. Get them smooth and soft. It
is going to be as important to have them tan evenly and
beautifully as to have your face tan that way. And
don't forget your elbows. Soften them too.

By the first of June you'll have your summer skin in
condition. Then tie up your hair. Smile. Stretch.
Go out in the open and have fun !

Home town salutes greeted Claudette
Colbert when the lady who triumphed
in Hollywood visited in New York.

IF IT keeps up, Bing Crosby will have
to get himself the title of "Colonel,

suh," and move to Kentucky. I mean, he's
gone horse-racing daffy. He not only
owns several fast steeds, but he is sending
them to other cities for racing meets, and
he is following them when picture work
doesn't keep him in Hollywood.

At the close of the racing season in Los
Angeles, Bing shipped his stable to North-
ern California. He followed them, and
when it was necessary for him to be in
Hollywood, he commuted by plane for
clays. Now the Crooner vows that he'll
send at least one of his horses East for
some of the big racing meets.

HEN Francis Lederer
stepped out of the cast of
"Break cf Hearts," in which he
was to have been co-starred with
Katharine Hepburn, he didn't part
on such friendly terms with Katty,
according to an inside report.

It seems that one of Lederer's
parting remarks was enough to
burn his bridges behind him.
That remark is supposed to have
been, "Miss Hepburn, if you con-
tinue on the screen for several
years, you may be an actress."

Brief and breezy news notes
about screen celebrities

By Weston East

C.ECIL B. DeMILLE is noted for his
reserve, when it comes to passing out
words of praise. He rarely waxes enthu-
siastic. If a scene pleases him to the ex-
treme, he calmly says, "I'm afraid I like
that." 'And what scorching phrases he
concocts if a scene doesn't please him !

At any rate, his "I'm afraid I like that"
led to a funny remark by an extra who'
had fallen under DeMille's lashing tongue.
This extra happened to pass C. B., as the
latter's car moved away from the studio
with noisy bumps.

The extra looked at the rear of the car,
and said to DeMille, "I'm afraid you've
got a flat tire — / hope!"

And here's a Hollywood home! Claudette's
beautiful Colonial mansion La Colbert

THE studios have hit upon a new
method of discovering screen talent.
This plan is the staging of amateur the-
atricals in specially-built "little theatres"
within the studio walls. In at least two in-
stances, talent departments have been
formed. Members of these departments
interview prospects. If the prospects look
promising, they are invited to participate,
(without pay), in studio shows. These
shows are rehearsed carefully, and are
finally seen by high executives of the com-
pany. As yet, no newcomers have been
thus found, but the plan promises results.

THERE'S a cute little story
about Shirley Temple and Baby
LeRoy going the rounds. Shirley
is supposed to have asked Baby
LeRoy his age.

"Two, going on three," retorted
Master LeRoy, "and what have I
got to show for it?"

for June 19 3 5

Hollywood!

dream castle nearing reality. Sketch of the
is building for her very own home.

THE breaking up of the team of Laurel
(Stan) and Hardy (Oliver) caused
such a huge bale of protesting letters, that
studio officials are seeking to bring about
a re-union of the popular pair.

Stories were circulated that the team
split because of a personal disagreement,
but both Stan and Oliver hastened to the
fore with denials ; they say they are the
best of friends. The trouble that caused
their break-up, both aver, was strictly a
matter between Laurel and the studio.

AS THIS is written, Mrs. Wallace
■ Beery, wife of the star, is
about to go to Honolulu. For the
past year, Mrs. Beery has been
desperately ill; once or twice phy-
sicians thought she could not live.
Her trip to Honolulu is the first
time in more than a year that she
has been allowed to leave Holly-
wood.

ROMANCE AND RUE-MANCE
. DEPT. : After many threats this way
and that, the Anita Louise-Tom Brown en-
gagement has at last come to an end. This
time it looks permanent, although you can
never tell what these Hollywood young-
sters will do next.

Take Irene Hervey and Robert Taylor,
for example. They were like two love
birds, and then something happened ; she
gave him back his ring, and he took it,
and they are barely speaking.

Divorces and separations have had
Hollywood in a turmoil for weeks. Jean
Harlow got her decree. Alice White and
Cy Bartlett decided to melt bonds.

On the contrary, of course, they are
saying that Edna Best's contemplated re-
turn to Hollywood may mean that she
and Herbert Marshall will patch their dif-
ferences. They are also saying the Leslie
Howards will not divorce, and that Merle
Oberon, who was named as a Howard in-
terest, just isn't.

Maurice Chevalier continues to pelt the
young lovelies with flowers. Ann Sothern

Here's Victor McLaglen and Margot Grahame, English star.

Over the waves from California to
New York! Above, Irene Dunne and
her husband, Dr. Francis Griffin.

has been receiving his roses — and who
wouldn't like to send roses to Ann ? Joan
Crawford and Franchot Tone continue to
drift along, with Joan clinging to her opin-
ion that romances last longer than mar-
riages in Hollywood, so why spoil things
by marrying. Jean Harlow says she and
Bill Powell aren't going to be married at
all, at all. There's nobody else, either, she
avers.

Paula Stone, daughter of Fred Stone,
will likely altar-ate her life soon with
Henry Willson, the agent-writer fella.
And Rosita Moreno's marriage to Mel
Shauer, movie exec, has been expected
daily for weeks. Francis Lederer con-
tinues to smile at mention of Mary Anita
Loos, niece of the writer Anita Loos.
Grace Bradley and Nick Foran hold hands
at the night clubs, and June Knight has
been finding solace for her late divorce
in the nice words of Tommy Lee, Holly-
wood money man.

Jack LaRue and Connie Simpson have
ended their long romance, but it's a spat
that may be cured with time. Sue Carol
and Nick Stuart are going out together
again. They do that ever so often, and
Dan Cupid says you must be only mod-
erately surprised if something comes of it
some day.

HAT a gay wedding that
must have been down in
Houston, Texas, when Clark
Gable's step-daughter was
married! Clark himself attended,
and he walked down the aisle to
give the bride away. Remember,
in "Forsaking All Others," Gable
was supposed to give the bride
away?

Clark also made the bride and
groom a wedding present in the
form of a lengthy honeymoon
trip. In addition, he gave the
bride a diamond bracelet and a
fur coat.

SCREENLAND

Acme

Prince Sigvard of Sweden, bound for
Hollywood to become a director, with
his bride, a former German film star.

BEHIND THE SCENES DEPT.

THE report going around Hollywood
that Anne Shirley was joining the
"high hatters," thanks to too much fame
come too quickly, is somewhat off-color.
True, Anne has had trouble keeping her
young head clear, but if she has changed,
it has been because she is trying too hard
.to remain a good fellow, and she has bent
backwards in the attempt.

Everybody expected Jean Harlow to go
to Reno for her divorce. She didn't ; she
purposely was divorced in California. The
reason: California law g'ives an interlocu-
tory decree, that does not become final for
a year. Meanwhile, the persons in process
of divorce cannot legally marry until the
final decree is granted. Jean doesn't want
to marry for at least a year, and with her
present divorce, she can't.

Reason for the continued stories about
Steffi Duna still being in love with Francis
Lederer has at last come to light. The
rumors were always "Duna and Lederer,"
but now it comes out that Steffi's great in-
terest is not Francis, but is Charles
Lederer.

A law-suit for $125,000 against Jack
Oakie for alleged slander was called off
when the comedian apologized. . . . Photo-
graphs of Fred Astaire dancing are
snapped with the same type of high-speed
camera that is used to catch shots of auto-
mobile races. . . . With an audience of sev-
eral hundred fans held back by ropes and
police, Shirley Temple joined Hollywood's
"Hall of Fame" when she left her foot-
print in the forecourt of Grauman's Chi-
nese Theatre. . . . For his new picture,
Will Rogers had to wear pajamas; he was
so embarrassed that he wore them over his
regular clothes, and he jerked them off be-
tween scenes.

\}\7 HEN soup was served the
" " other day to Gloria Swanson's
two and a half year old daughter,
Michel Bridget, the baby refused
to eat it. Asked why, she said,
"It hasn't any vitamins." Well,
that sounded like big talk for such
a little girl, so mama Gloria pur-
sued the subject. She found, after
much research, that what little
Michel Bridget referred to were
letters. She had been eating al-
phabet soup, and when she got an-
other kind, she didn't like it.

Wide World

First picture of Clara Bow since she
became a mother! Clara and Rex
Bell attend the boxing matches.

SO IT is now discovered why masculine
screen stars have such large ward-
robes! Adolph Menjou let the secret out
of the bag. It seems, according to " 'Dolf,"
that a well-dressed leading man must not
wear the same suit in two pictures. Most
of the time, such procedure might pass un-
noticed, but with the current theatre-habit
of running double bills, two pictures with
the same actor are often shown on one
bill. "Ninety-nine persons in the audience
might not notice that an actor wore the
same suit in two pictures," Menjou says,
"but the one hundredth person would spot
the suit, and soon everybody would know.
Then plop! would go a reputation for
being well-dressed."

JOAN CRAWFORD is ten
years old this month! Now
isn't that an absurd statement to
make? But it is true, no matter
how absurd it may seem. Ten
years ago this month, there was
no Joan Crawford. There was a
Lucile LeSeuer, but movie offi-
cials decided no girl could over-
come the handicap of that name,
so they changed it. That's how
Joan Crawford was born.

Just to prove how important it
is to Miss Crawford herself, she
has a birthday party every year
for the new name. She invites
friends to dinner, and there is a
cake with candles, and every-
thing.

AN AMAZING drive is now afoot to
- bring about the screen return of
Charles Ray, who was a few years ago one
of the best known stars. Women's clubs,
parents and teachers associations, business
men's organizations, and the general pub-
lic throughout the country are being peti-
tioned to demand Ray's return. The
argument advanced is that his pictures
were always clean, and that the screen has
a place for such a star.

Round-robin letters are now being cir-
culated everywhere. If you have not re-
ceived one to sign, you may soon. It is
the expectation of the Charles Ray Club
to obtain half a million signatures. The
club, it is said, is working altruistically.

Sister's debut! Frances Dee, right,
aids Margaret Dee to make-up as
both prepare to act in "Becky Sharp."

M ARGOT GRAHAME, English ac-
tress who went to Hollywood as just
a wife accompanying her husband, Francis
Lister, whom you saw in "Give of India"
with Ronald Colman, and landed in front
of a camera as leading lady for Victor
McLaglen in "The Informer," must have
something that impresses casting directors
as ideal for heroines to the he-men stars.
At any rate her next picture is to be a
western with Richard Dix.

Between the two pictures for which
Margot was signed — snap', just like that —
the English charmer paid a visit to New
York, and convinced a lot of people that
if "Becky Sharp" in Technicolor doesn't
put color pictures over, why, Margot will —
what, with that luminous composite of very
blonde hair, blue eyes, and glowing com-
plexion, all ready and waiting as a chal-
lenge to the pigments of chromatic film.

Margot also revealed that she has be-
come a Hollywood enthusiast, and after
doing one picture there has found that she
really likes pictures — though she felt the
opposite about films all during her work
in nearly forty features made in England.
As soon as she can do so, Margot plans
to return to England to bring her mother
and father to Hollywood, and then the
Francis Listers will make their home in
the cinema capital.

OF COURSE, they're saying that
Virginia Bruce and "Pinkie" Tomlin,
the song writer and actor, are not in love.
But Virginia went to the preview of Tom-
lin's first picture with him. He didn't like
himself at all, and he went into a blue
funk. So Virginia sat up with Pinkie until
four o'clock in the morning, consoling him.

KATHARINE HEPBURN can
be one of the nicest of per-
sons, when she isn't too busy
being eccentric. When Claudette
Colbert won the Academy Award
for the finest acting performance
of last year, she had to board a
train for New York immediately
following the award banquet. On
the train, she was agreeably sur-
prised by a telegram from Kath-
arine Hepburn, last year's award
winner, congratulating her. For
which, a Screenland close-up
with an extra fine sound track to
Miss Hepburn.

for June 19 3 3

Tins day will neve*
come agam-sa^
it with snapshots

Hrs|K JBBi***-1^ aike tbis becomes

way9 use Ve *^^^^(*^h| flBp

SCREENLAND

Don't choose
ijour laxative

BLIND Man's Buff is no game to play...'
in any matter pertaining to your health.
When you need a laxative, you must
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Harsh laxatives will cause stomach pains,
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Name

Address..

Constant Kay

Continued from page 16

only recently married Kenneth McKenna,
a successful New York actor and director,
she was going to be a star and I was afraid
she was going to be grand.

Our next meeting occurred at the home
of George Cukor, the director. There were
a number of prominent people there, all of
them possessed of a flashing, devastating
wit. A certain actress, who is none too
popular in the movie colony, came up for
discussion. One of the women present did
not, apparently, care for this other actress
and when she finished with her there was
little left to be said. At least, so I thought.
Then Kay took up the cudgels and for
every charge brought against the absent
actress, Kay had an excuse or an explana-
tion ready.

When the lady who was doing the pan-
ning refused to be converted, Kay said,
quite simply, "Well, dear, we happen to
feel differently about her. I like her — you
don't. Let's talk about something else."

Not a point did Kay yield, not an iota
did she change. And if you don't think it
takes real fortitude to stand up for a
person when everyone else in the room is
against her, you don't know Hollywood.

I didn't see Kay to talk to again for
nearly three years. We met a day or two
before she left for Europe, when I went
out to get a story. I was suffering from
a bad attack of athlete's foot. When greet-
ings had been exchanged I said, "I know
you must have a million things to do and
I'll get through with this as soon as I can.
Now, how about — "

"No," said Kay firmly. "Before we
start with the interview, I want to know
what's the matter with your foot ?"

"It's nothing," I assured her. "It would
take up too much time to tell you. Do
you—"

"Never mind the time," she interrupted
me. "I want to hear about it."

A precious half hour of her time was
wasted while I went into a detailed ac-
count of how I had caught it, the incon-
venience to which I had been put and the
different treatments I had tried, with Kay
commiserating and clucking her tongue in
sympathy.

A few minutes later she looked at her
watch. "Good heavens ! I didn't know it
was this late. I've got to fly. You were
right. I've wasted your time and you've
got nothing for your story." She sat down
for another fifteen minutes and gave me
enough material for half a dozen stories.

The night before she left to embark on
her first European trip, when she must
have been in a perfect dither of excite-
ment and last minute details, she took time
out to write me a note : "Dear Dick : I'm
worried about your foot. Please take care
of it — and yourself."

If you knew Hollywood as I do you'd
realize how few people there are out here
who would have given it another thought.

When Kay returned three or four months
later I was away, and when I returned she
was laid up with make-up poisoning so I
didn't see her again until the other day.

What a difference those few months have
made in Kay ! She seemed more like the
girl I first met six years ago than she
.has at any time since then. I made some
comment to that effect and added, "Once
I thought Hollywood would change you."

"Poor old Hollywood," she laughed. "It
gets blamed for everything. Hollywood
has only made two changes in me as far
as I can tell. One thing it has done is to
turn me in a rousing good gossip. When
I first came out here, when people would

Smiles! Josephine Hutchinson's
and Pat O'Brien's, on the "Oil
for the Lamps of China" set.

put anyone on the pan I'd always try to
find something nice to say about them.
Now I just pitch right in and fry them
along with the rest of the bunch. Unless,"
she added hurriedly, "the victim happens
to be a friend of mine and then I'm just
as rabid as I've always been.

"The other change it has made has been
in my disposition. I used to be pretty
even-tempered. Now little things annoy
me and I fly off the handle and scream
and say things I don't mean and that I'm
sorry for the minute they're out of my
mouth. That's nerves. This business does
it to you. You work in the terrific heat
of these lights all day and then go home
mentally and emotionally exhausted. I
think the lights must dry up your skin
and that must be what makes us all so
nervous. Outside of those two things I
don't think I've changed much."

"Don't you think you're more cynical?"
I queried.

"If I am," she answered promptly, "it
isn't any fault of Hollywood's. I think
everyone becomes a little more cynical as
they grow older. I'm more cynical than
I was when you first knew me — but I'm
six years older. But," laughing, "even in
my senility I don't think I'm what you
could call a cynic.

"And on the other hand," she burst out,
"Hollywood has given me something no
other place on earth could give me and
that is four of the finest, most charming
friends any woman ever had. I could have
lived in lots of places and, if I'd been
lucky, found one close friend but I don't
know anywhere else I could have lived and
found four friends like Jessica Barthelmess,
Bea Stewart (Mrs. Donald Odgen Stew-
art), Frances Goldwyn and Dorothy Frasso.

"Do you know, Dick," she went on sud-
denly, "I think the reason Hollywood
changes people — if it does — is because they
take everything out here so seriously. The
only thing I take seriously is my work and
the only reason I take that seriously is be-
cause I want to make a lot of money. And
as soon as I've got that money I'm getting
out of here.

"People say you get tired of loafing. I
don't believe it ! I could be the grandest
loafer ever created. The places I want to
go — the things I want to do and see — would
take years ! Imagine having the time and
money to do everything you want and
nothing to worry or harass you!"

"You feel that way now," I protested,
"because you rushed through one picture
as soon as you got back and now you've

for June 19 33 65

SCREENLAND

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THE SILENT M

MESSENGER

Bouquet Lentheric, a dou-
ble essence, created to
make your day more fra-
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Available wherever fine perfumes are
sold. — Lentheric, rue Saint - Honore,
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HOW TO USE In the morning, after bath or shower,
apply freely to body. Spray on lingerie,
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, Pat on forehead and temples, to relax

LENTHERIC and relieve fatigue.

LeiiSlric

THE DAYTIME FRAGRANCE

Qjjwit., catt until a -ifrta/i/up ^eAM^tsMCe.

gone right into another. But if you ever
got away from here for long you'd be
aching to get in front of a camera again."

"The devil I would!" said Kay. "I was
gone four months and when the time was
up I hated the thought of coming back
here. I don't say I'll never make another
picture but pictures will only be of sec-
ondary importance. What a time I had
abroad !"

"Lookit," I began. "You said Holly-
wood only changed you to the extent of
making you more gossipy and irritable.
I'll tell you another way it's changed you.
You remember that night at the Marches
and those stories you told of the dives you
and the rest of the company used to fre-
quent in Covington? I can imagine you
going into one of those places now !

"And when I first knew you you had a
dog, a cat, a parrot, some gold-fish, a tur-
tle and some frogs. You had a Ford and
you drove it yourself. You lived in an un-
pretentious house. Where are all those
things now ?"

"You're crazy," Miss Francis informed
me. (That's the fourth time this week I've
been told that.) "I live in a smaller and
less pretentious house than I did when you
first knew me. I had a pond dug in the
yard and dumped the fish, frogs and turtle
into it. I still have the cat and the parrot.
I still drive a Ford — my second, inciden-
tally, in the six years I've been out here
while you're on your fifth ! I still drive it
myself and I still have the same maid I
had then. I don't even own one share of
stock in a footman or chauffeur.

"I took this little house I'm in now be-
cause it was cheaper.

"I'm going to lay up enough money to
enable me to do the things I want if it
kills me!"

"Yeah, but how about the dives?" I per-
sisted.

"I love them," Kay assured me. "While
I was abroad about half the time I was
very social. I visited the Countess Frasso
who knows everybody in Europe and when
I was with her and her friends I was as
proper as proper. But the other half of
the time I was in and about dives that
would have made those in Covington pale.

"You've no idea the fun I got out of
places like Rapallo, Brioni, and Stresa in
Italy; and Senlis and Armcnonville in
France. I 'did them' as a seventy-five dol-
lar-a-monih school teacher on a trip abroad
would have done them — and I had the time
of my life ! People recognize you over
there but they don't annoy you. You don't
have to put on an act for them. You can
be yourself at all times. Do you know I
only went into Paris two nights— and those
times it was to keep dinner engagements?"

"Ready, Miss Francis," called the direc-
tor.

And Kay, in the form-fitting black gown
she wears in a sequence in "The Goose and
the Gander," slipped out on the dance floor
with George Brent.

I drove home wondering" not how anyone
could change as much in six years as Kay
but how anyone could live for six years in
Hollywood and remain as unchanged. That
girl couldn't go grand if she wanted to!

Ask Me!

By Miss Vee Dee

A Hoosier Fan. Your state has pro-
duced many well-known actors, actresses,
painters, writers of fiction and poets — not
to mention Presidents and Vice-Presidents.
Several screen stars claim Indiana as their
birthplace. Among them are Louise Dresser,
Ann Christy, Louise Fazenda, Carole Lom-
bard, Irene Pureed, Ross Churchill, Char-
lie Murray, Richard Bennett, father of the
three Bennett girls, Barbara, Constance,
and Joan ; Tom Geraghty, story writer for
pictures, and Charles Butterworth, South
Bend, Indiana's boy who has made good in
cinemaland.

Margaret A. I'm a very good explainer
and can take care of almost anything that
needs an answer, if I may say so. Phillips
Holmes can be interested in any of the
likable and good-look-able girls of the
screen if he wants to — he is not married
to Frances Dee. She has a perfectly good
husband — none other than Joel McCrea.
There is a third member of the McCrea-
Dee family, it's a boy.

Doris B. I haven't heard that Bing
Crosby contemplates leaving the screen —
if he does, you'd just up and die, wouldn't
you? If all his admirers love his voice
and smile as you do, he'd better keep sign-
ing on the dotted line forever. Bing's
films up to date are : "Too Much Har-
mony," "Going Hollywood" with Marion
Davies ; "We're Not Dressing" with Carole
Lombard, George Burns, and Gracie
Allen; "She Loves Me Not" with Miriam
Hopkins and Kitty Carlisle ; "Here Is My
Heart" with Kitty Carlisle; and his new
offering "Mississippi."

Ray W. Still loyal to the old guard,
aren't you? Not that Joseph Striker is
old or one of the guards, but the days of
silent pictures seem ages ago and Joseph
was one of the silent players. A few of
his releases are "Annie Laurie," "Cradle
Snatchers," "Harp in Hock," "Wise Wife,"
"House of Secrets," "The Wrecker" and
"Paradise." I haven't a record of any
very recent film in which he appears. One
of Earle Fox's later pictures was "Bed-
side" with Warren William and Jean
Muir. Lee Tracy was born on April 14,
1898. He is 5 feet 10 inches tall, weighs
145 pounds, and has sandy hair and blue
eyes. I don't remember "Otto" in "The
Mystery of the Wax Museum" but Lionel
Atwill played Ivan Igor.

William S. of Rio de Janeiro. Como
esta? Sorry I cannot give you very per-
sonal information about Laurette Taylor
but all I have is yours. She is Mrs. J.
Hartley Manners, in private life, and
starred in his plays ; she created the role
of Peg in "Peg of my Heart," and played
it for years on the stage in the United
States and England. Her screen career
consists of the silent version of "Peg of
my Heart," "Happiness" and "One Night
in Rome." Of course you know Marion
Davies starred in the talkie "Peg o' My
Heart."

Winners of SCREENLAND'S RUBY KEELER CONTEST WILL BE
ANNOUNCED in the NEXT ISSUE.

for June 1935

MADGE EVANS

in Metro-Goldwyn-Mayer's
"THE AGE OF
INDISCRETION"

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anyway — but no matter how busy she is,
see that she takes the time to slip her
lashes into Kurlash (just as you do!) so
that they may curve back into the most
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her eyes. Kurlash costs only $1 at almost any
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Sormetlwnxj fllue

Then — blue eyeshadow — because it's so
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A wedding is a dramatic event — so use
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Take it along in black, too, to touch the
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Copr. The Kurlash Co. Inc. 1935

Wallace Beery's Cinematic History

Continued from page 53

and (unforgettable, his villainy in this next
one) "The Four Horsemen of the Apoca-
lypse." It was during the early part of this
picture that Beery unselfishly said to Rex
Ingram, the director : "Don't waste time on
me ; I can take care of myself. Give that
dark-eyed Latin actor all the help you can,
because that guy can be a big star if he gets
the opportunity." The "dark-eyed Latin
actor" was Rudolph Valentino !

By this time, Beery was in the "big
money." Furthermore, he saved a large
part of his earnings. During the lean
days, he had learned the tragedy of being
constantly broke, and he determined never
to be without money again. That was
really the foundation of the Beery for-
tune, which today is one of the biggest
in Hollywood, although he will not
admit it.

What might be termed the real turn-
ing point of Wally's career occurred in
1921, when Douglas Fairbanks cast him
as King Richard in "Robin Hood." In the
guise of the rough-shod, ill-mannered,
good-guzzling monarch, Beery stood out so
brilliantly that he succeeded in stealing the
picture from Fairbanks, a mighty feat in
those days.

Of course, Wally was an immediate sen-
sation, and in the bidding for his services
that followed, his salary jumped to daz-
zling figures. He signed with Paramount,
where he and Raymond Hatton were co-
starred in a series of so-called (the term is
Beery's) feature comedies. The first one
or two were successes but the studio ran
a good thing into the ground, and the suc-
ceeding Beery-Hatton comedies were as
sour as lime juice.

Raymond Hatton tells an amusing prank
of which he was the goat, and Beery the
perpetrator. There was a scene in "Be-
hind the Front" that called for Beery to
give Hatton a hair-cut — (they were sup-
posed to be in the army). This scene was
saved until the very last, and when it
came, Beery and Hatton acted until the di-
rector shouted the order, "Cut !" Where-
upon Beery, weighing 230 pounds, sat on
poor Hatton, who weighed only 130
pounds, and held him helpless while the di-
rector ran the clippers straight across the
top of Raymond's head, leaving a wide
swath of bare skin from ear to ear.

Beery was constantly full of such trick-
ery. During the filming of "We're in the
Navy" — (next picture after "Behind the
Front") — he purchased a rubber chair,
painted to look like a duplicate of other
chairs on the set. Wally and Ray would
patiently await the arrival of visitors on
the set ; the more pompous the visitor, the
happier Beery and Hatton. They would
engage the guest in conversation, which
invariably led to a suggestion that they
sit down. Always, the visitor got the
rubber chair, to the utter joy of Beery and
the working crew.

"Now We're In the Air" was the next
picture in the cinematic life history of
Beery. Just as this picture got under way,
Wally purchased a dog. He brought his
new canine pet to the studio one day, be-
cause, he said, "he wanted it to have as
much to talk about as other dogs." He
led the canine into the front offices, and
right into the sanctum of the studio execu-
tives, who were in heavy conference.
Waliy paraded the dog around the room
without a word, until they reached the door
by which they entered. Through that door
they departed, but not until Beery had said
to his pet, "Now you know what a confer-
ence is. I knew you wouldn't like it."

Wally is the probable inventor of the
"hot seat," a chair with an electrical ap-
pliance which gives a seated person a dis-
tinct shock. Richard Arlen looms in film
history as the first victim of a "hot seat."
It happened during the filming of Beery's
next picture, "Fireman Save My Child" —
(a silly title; the firemen really should
have tried to save the picture). Arlen
visited the set, settled down in the unlucky
chair, and received the fullest shock of the
electric battery. He jumped, from a sit-
ting position, a full three feet in the air
and ten feet away. Beery laughed over
that for days, and advised Arlen to go to
the Olympic games as the "sitting jump"
contender.

In 1928, Arlen and Beery played in their
only picture together. The production was
"Beggars of Life," and one of the scenes
found Beery and Arlen running alongside
a freight car on a treadmill, then hopping
into the car. The treadmill, of course,
provided the car with illusion of motion.
Beery and Arlen jumped into the car all
right, but once inside they began to fight
for the best camera angle. First Beery
would back up. That would throw his
face more to the camera, and would ex-
hibit a little more of the back of Arlen's
neck and head. Then Arlen would back
up, reversing conditions. Finally they both
walked backward at the same minute —
and stepped clear out of the box car and
onto the still running treadmill, which
quickly carried them out of sight.

When the director got through laughing
at the sight of Arlen and Beery, lying on
their backs with their feet in the air, he
threatened to put an iron bar across the
freight-car door to keep his two actors
within camera range.

It was during the filming of this picture
that Mary Brian fell victim to one of
Beery's practical jokes. Mary visited his
set one day, dressed "fit to kill" and en
route to an afternoon tea. Wally per-
suaded her to sit down, and before she
realized what was happening, he hand-
cuffed her to the chair. There she sat,
securely chained to the chair, for the en-
tire afternoon. The social tea was held
without Mary's presence.

The failure of the later Beery-Hatton
comedies to click at theatre box-offices
spelled doom to Wally's contract, and al-
most the same for his career. After he
was released, he fell into another "per-
sonal depression," during which time he
couldn't get work for love or money.

That period ended when he was placed
under contract by the Metro-Goldwyn-
Mayer Studios. This happy event took
place in the year 1929. Even though he
had signed a contract, he was not yet to
go to work; for six months he never
turned a working finger. Most of that
period he spent in the California moun-
tains, fishing, hunting, and camping. It
was about this time that he became inter-
ested in aviation. Today he is one of the
country's most ardent and capable flyers.

"The Big House" finally ended his long
idle spell. Of this picture, which proved
another turning point in his screen-life,
Beery says : "My part — ■Butch, the con-
vict— was a character that I could really
understand. Brutal and uncouth as Butch
looked and acted, he was a human being,
a muddy mixture of virtue and vice."

It was during the filming of this picture
that Wally and Robert Montgomery met
and became good friends. Fans who saw
that production will recall that Bob's
role was a thankless one ; he portrayed the

for June 1933

A Holiday from comedy! Hugh
Herbert and his wife arriving in
New York on a vacation.

character of a craven prisoner, who
cringed and crawled in the face of even
slight danger. Other stars said to Mont-
gomery that he was crazy to play such a
part, because, they warned, he would es-
tablish himself in the minds of the public
as a despicable coward, and he could never
outlive it on the screen. Montgomery
heard so much of this that he became
greatly worried.

"Don't let anybody fill your head with
such rot, kid," Beery told the much
younger Bob. "You give 'em a good show,
and they'll like you. I've played mean
guys and good guys on the screen, and I
still get by." This encouragement gave
Montgomery new faith. That Beery was
correct is proven by Bob's popularity
today.

"Min and Bill" was the next big step in
Beery's screen-life. In this picture he met
Marie Dressier for the first time. He
worshipped her from the beginning. He
never lost his tremendous respect and
adoration for Marie right up to the time
of her death. During her illness, no one
was more worried or solicitous than Wally.

During this production, and also dur-
ing another picture they made together,
Beery watched out for Miss Dressler's in-
terests zealously. She was willing to work
twenty hours a day, but Beery, knowing
her health was none too good, would not
permit it. He would himself insist upon
quitting at five o'clock, when as a matter
of fact he really wanted to quit so Marie
would not have to work over-time.
(Author's note: Since forming that habit
of quitting at five, Beery ha^ liked it, and
he still insists that his work-days end
promptly on that hour.)

"The Champ" was next. This was the
picture that brought Beery one of the great
achievements of his career — the award for
the finest acting performance of the year,
bestowed upon him by the Academy of Mo-
tion Picture Arts and Sciences.

Jackie Cooper co-starred with Beery
in "The Champ." Wally, playing the role
of a broken-down prize-fighter, decided he
should teach young Jackie how to box. So
he got down on his knees, and he and
Cooper "put on the gloves." Wally emerged
from that "mock battle" with a very
red nose, a slightly blue eye, and consid-
erable embarrassment. How was he to

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know that Jackie had taken boxing les-
sons for two years? Of course, because of
his great strength, Beery did not dare
strike back at the diminutive Cooper, so
there he was, unable to retreat because he
was on his knees. And did he take it !

Beery went to the studio to witness the
first preview of "The Champ." Company
executives who saw the picture that day
decided it would be a box-office marvel,
but they agreed it was too long. After
some discussion, they decided to cut one of
young Jackie Cooper's biggest scenes.

Wally sprang to his feet and vetoed that
idea. The scene, Beery pointed out, was
one of the finest in the picture. "Leave
it in," he said, "and give the kid a break."
He prevailed ; it was one of Beery's
sequences, and not Cooper's, that was left
behind on the cutting-room floor.

"The Hell Divers" was next, and then
M-G-M's colossal flop, "Grand Hotel."
When Beery was first cast in this picture,
he read the script one time, and definitely
refused to play the part of the cruel, auto-
cratic manufacturer. Beery did not pull a
Garbo and "tank he go home"; he pulled
a Beery and went home. He remained
there, ignoring telephone calls and tele-
grams from the studio legal department.
After several hectic days, he received a
wire from Irving Thalberg — a friendly
message that did not threaten broken con-
tracts or law suits. Ill feeling was in-
stantly forgotten ; Wally returned to the
studio and played the part. The big fellow
is a sentimentalist; easy to lead but im-
possible to drive.

"Flesh" and "Dinner at Eight" followed
in rapid succession, neither marked by un-
usual happenings, but both marked by
Wally's consistently good work.

Then came "Tugboat Annie," his sec-
ond picture with Marie Dressier. Despite
his high regard for Marie, and his positive-
ness that the picture would be a success,
Beery had one fear : he was afraid the
studio would try to team him too often
with Miss Dressier, and that the team
would eventually fail. He has never for-
gotten the ill fate that befell the Beery-
Hatton team.

It was also during this picture that he
made his historic crack about studio
"props."

"In the old days," Beery said to a studio
executive, "when the script called for
champagne, we had champagne. When it
called for beer, we had beer. Now, no

matter what the script says, we get cold
tea." After that, Beery got beer.

"Viva Villa" followed "Tugboat Annie."
The picture is regarded by Wally as his
best characterization. Even so, he claims
that his Mexican accent was terrible. "I
was still playing 'Grand Hotel,' and using
a Dutch accent," he explains. The only
difference, according to Wally, was that
in "Viva Villa" he wore a broad-brimmed
sombrero !

During the week-end while this picture's
interior scenes were being filmed in Holly-
wood, Beery decided to fly to his mountain
ranch, which is on an island in Silver
Lake. When time came to return, the
wind was blowing almost a hurricane.
The landing field at Beery's ranch is some
7000 feet above sea level, and even in the
best kind of weather it is difficult to get
a plane off the ground, due to lack of
"air lift" on the wings.

Beery and his stand-in, (who had ac-
companied him on the trip), finally got
the wheels off the ground. Now the land-
ing field is in a tiny pocket in the moun-
tains, and the plane couldn't gain altitude
fast enough to climb the surrounding hills.
So they flew round and round in that
tiny depression, the wings practically
brushing the mountain sides.

Once they hit a down draft that dropped
the plane two hundred feet or more, and
Beery, still clinging to the stick, was lifted
right out of his seat. His head hit the
top of the cabin, and raised a knot that
remained for days. Luckily, it didn't
knock him unconscious, or the plane might
have dived right into the lake.

Beery doesn't know yet how he escaped
from that predicament, but the stand-in
vows he never saw such maneuvering.
The story got around when they returned
to the studio, whereupon M-G-M officials
ordered Beery to quit airplaning. He an-
swered with the sign that literally means
"nuts to you." After some argument, they
succeeded in persuading him to give up
flying during picture production. Now
that airplaning is safer, he ignores even
that order.

His flying proclivities came into good
use during the filming of "Treasure
Island," his next picture. It was filmed on
location at Catalina, and at the time
Wally's wife was near the point of death.
Beery chartered a seaplane for duration
of the long location period, and every
night he flew to the mainland, where he

picked up his fast car at the dock and
sped to the hospital. Speed cops on the
road knew the circumstances, and Wally
was not stopped once. Each morning he
arose at dawn, drove to the hospital to see
Mrs. Beery, then reversed the traveling
schedule back to work.

This brings us up to the present in this
cinematic biography of Wallace Beery.
His most recent pictures are "The Mighty
Barnum" and "West Point of the Air."
The former looms as one of the most
colorful of his career, and certainly a pic-
ture that afforded Wally much fun-in-the-
making.

An amusing incident that occurred dur-
ing production of "The Mighty Barnum"
concerns little Carol Ann, Beery's adopted
daughter. She visited the set, and
promptly became attached to the midgets
who were working with Wally, particu-
larly George and Olive Brasno, the
brother and sister "little people." She
thought they were children, and she could
not understand why George was allowed
to smoke cigars, when she wasn't permitted
to touch them. Beery gave Carol Ann a
birthday party, and she insisted that the
midgets be invited.

A close scrape with a horrible death
occurred during the filming of "Barnum."
The script directed Wally to stand near
a burning stairway and yell r.t the rioting
crowd. He paused too long, and the seat
of his trousers caught on fire. Smoldering
and smoking, he rushed from the set, found
a water hydrant, and managed to extin-
guish the fire by backing up under the
hydrant and "drowning his woe." Had
his discovery of the burning trousers been
delayed, they might have burst into flames
with disastrous consequences.

Beery's aviation fever ascended to a new
high during the filming of "West Point
of the Air." This picture was filmed at
Randolph Field, near San Antonio, Texas,
where the government maintains a training
school for embryo aviators. There may
be found the latest wrinkles in aviation,
the latest ships, the newest safety and
speed devices.

Wally spent most of the time in the air.
The director, instead of seeking the star in
his dressing-room, searched the skies for
his plane. Any time the ship was on the
ground, they were sure Wally was nearby.
If the plane was gone, they knew the scene
must be delayed.

While he was in San Antonio, Beery
made friends, and he promised that he
would return for the premiere of the pic-
ture in that city. When you read this
story, that will probably have occurred,
but at this writing, he is making all en-
gagements, business or personal, with the
proviso that they must not interfere with
a flying trip to San Antonio for the pre-
miere. That is one engagement he in-
tends to keep.

We arrive at the conclusion of Wallace
Beery's cinematic biography to date.
There isn't another record in Hollywood
to compare with his. Twenty-three years
a screen actor, and twenty-two of those
years, (with the exception of lay-off
periods), a star. More important, still a
star ; one of the most popular. What
other actor or actress can point to such
a magnificent record?

What other star has appeared in as many
successful motion pictures? Due to the
great number of them, all have not been
named in this cinematic biography, but the
fact is, Wallace Beery has appeared in
at least a score of pictures that are in-
cluded among the hundred bigger produc-
tions of screen history.

That is screen history in itself, but
Wally is not yet done. He may be with
us another twenty-three years. In fact,
that looks like a good bet.

for June 193 5

Winner Takes All

Charles Boyer

Continued from page 22

speaks quietly without gestures — even his
accent is not of the cute French variety —
and dresses in drab, inconspicuous clothes.
The first impression is one of a business
man. But, as I mentioned, his face, after
a moment's scrutiny, will be recognized as
that of an artist. Dreamy eyes, sensitive
nostrils, a mouth which is a trifle sensuous
and at the same time firmly indicative of
resolute independence. All this, no doubt,
should have given the producers a tip.
Here was a seasoned young actor of
Paris, London and Berlin, who never had
time to be insincere. Art was too long,
life too short. He meant what he said.
And no nonsense, either.

The producers saw him in two dramatic
productions in Paris and begged him to put
his name on the dotted line. They planned
to make "Casanova." Wanted him for the
lead. They enthusiastically sketched a
rosy future. Look at the money, they
argued, and come. Boyer didn't want
very much to come to Hollywood. He
was secure on the continent. He didn't
want to be forced to spend several years in
one place. He liked to change his en-
vironment too much. He knew that his
nature required a variety of stimulation
which he obtained only by a change of
place. The producers met that argument.
They would give him a seven years' con-
tract which allowed him six months in
Hollywood, six months in Europe. Boyer
hesitated. Even with the fancy salary
they were willing to pay, under such an
arrangement he would still lose money.
With the rate of exchange between francs
and dollars at fifteen to one and an in-
come tax to take care of in both France
and America, he was better off to stay
where he was. But he didn't hesitate for
long. He signed.

"It gave me the change I wanted" — to
let Boyer speak for himself — "and it was
an opportunity to broaden my audience,
which I have been always anxious to do in
order to increase my value as an actor.
But the principal reason I came was to
learn. Hollywood has the best directors
and the best technicians. By far, the best.
I knew I could learn more in America
than I did from all the pictures I made in
England, Germany and France."

It might be interesting to record right
here what his first impressions were of
Hollywood. "Hollywood," he says, with-
out a trace of bitterness, "is just like a
big studio. It has the best actors in the
world. But people talk shop all the time.
You can't get away from your business.
It stultifies one. In New York or Paris
you leave the stage and studio and asso-
ciate with all different kinds of people. I
need that contact with life. After all, an
actor has only two requisites : know the
technique, and understand life. An actor
cannot understand life by associating con-
stantly with members of his own pro-
fession. Hollywood is so fanastic at first
with its wealth of talent ; then it smothers
you, like a rich man is smothered by his
luxury."

What Charles Boyer learned from mak-
ing his first picture in America he has
never said. The truth is, he was probably
not in the mood to learn anything. The
script on "Casanova" simply wouldn't work
out. So, because Fox was carrying him
along at rather heavy sugar, they rushed
him into the gypsy role in "Caravan."
Over his protest. On this point Boyer
minces no words. "Imagine such a thing !
These gentlemen had seen me only in dra-

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matic roles. Yet they gave me a part
which didn't have one dramatic moment.
Any young novice could have drawn a bow
over a fiddle and looked like a love-sick
vagabond. It was absurd ! It was
idiotic !"

Of course the studio officials thought
that such a portrayal would capture the
feminine interest of America. And Boyer
hates cheap romanticism ! Nor did the of-
ficials think for one moment that Boyer
would go so far as to actually buy back
his contract. One real look at his face
and they should have known. They should
have known — as the reader should know by
this time — that this young Frenchman is
serious about his work. Acting, to Boyer,
is not a way just to make a living. It's
much more than that. From earliest boy-
hood he set about ordering his life to go
on the stage. His dreams were of nothing
else.

Yes, even as a boy he was seriously
practicing for his vocation. The peasants
and the merchants used to gather at the
school in the little village of Figeac when-
ever word spread that Charles Boyer was
going to recite. M. Boyer, pere, chuckled
good-naturedly over his son's histrionic
ability but clamped his teeth firmly on his
brier pipe whenever Charles whispered
that he wanted to go on the stage. No !
His son would follow in the family busi-
ness. He would be a merchant. M, Boyer
died when Charles was twelve. The
mother listened a little more sympathetic-
ally to her son's only ambition. But on
one thing she was adamant. He must fin-
ish his education first. After that he
could do as he chose.

Boyer's university career was interrupted
by the war. On this phase of his life he
will not speak. Like so many artists he is
inarticulate about vitally moving experi-
ences except through the medium of his
own art. In many of his tragic roles, I
fancy, little gestures and slight modulations
of voice are eloquent of unspeakable inci-
dents from those bitter years. And in the
war's indelible impression, perhaps, lies the
reason why he prefers tragedy. His fa-
vorite type of role is that of a man at the
height of his career who is hit over the
head with the hammer of circumstance
until he is forced down and down. But
Boyer was mustered out of the infantry
still young and whole, and he returned to
finish his studies at the Sorbonne. He took
his degree in philosophy in 1919 and imme-
diately entered the Conservatoire of
Drama.

He was in no hurry to go on the stage.
There was much to learn. For three years
he studied the classics from Euripides to
Shaw — and then opportunity flung open her
door.

M. Gemier, the famous actor-director,
saw him in one of the Academy's plays.
This genius of the Parisian stage was cur-
rently producing and acting in Claude Far-
rere's great drama, "La Bataille." His
second lead had taken ill. Would Boyer
take his place?

Some idea of this young student's seri-
ousness can be gleaned from the following
remark : "For several months I went to
the theatre at six o'clock every night. I
felt that I must have three full hours to
put on my make-up."

It was this same play, made into the pic-
ture, "Thunder In the East," which now is
hailed as one of the most revolutionary
steps forward in the history of the screen.
It was a triumph in artistry. For the_ first
time it made a psychological drama intel-
ligible in a medium where it had always
failed before. Superb acting and tempo in
cutting made the thoughts of the char-
acters almost articulate. Charles Boyer
not only played the lead in the picture,
he also helped to direct it.

"But," says Boyer modestly, "it is an
exaggeration to say that I directed the
picture. In France, when we make a
cinema, we are all like a small family.
The director lets the actor handle his own
scenes. Then we all help out together."

But let's return. After Boyer finished
the long run of the stage play "La
Bataille," he jumped to the starring role in
"Le Bonheur." Paris bowed at his feet.
He was the idol of feminine hearts. From
then on everything he touched was a suc-
cess. For eight years he appeared in only
four plays. In between times, without a
vacation, he made an occasional picture.

But he was happy in his work. Late at
night he would foregather with his friends.

Queenie Smith now a screen as
well as stage star close-ups in a
summery outfit. Perky, eh!

in his apartment or at some cafe. They
had a tacit understanding to speak of the
stage not more than once a week. He
never associated with actors. Most of his
friends were writers. Let me quote one of
them, Phillipe Heriat. This is an ex-
cerpt, (translated), taken from L'Echo de
Paris . . . "When Charles is studying a new
part he changes completely. He does not
see his friends, but prefers to take long
walks by himself in deserted districts.
There, in a veritable fever of creation, he
assumes his new identity. He is not him-
self; he is the anxious one of the 'Galerie
des Glaces,' the sick lover of 'Venin,' or
the cruel musician of 'Voyageur.' His
whole being is impregnated with the fic-
tional entity that he incarnates. He lives
in the person of his 'make-believe beings'
right until the end of his first perform-
ances. He stays in his dressing-room be-
tween acts to avoid futile remarks. He
would bar the door against the President
of the Republic himself. Only after it is
all over does he leave his dream and re-
turn to normal life, joining the friends
from whom he has been separated". . .

To many people the most astounding
thing about this fascinating person was
his torrential romance with Pat Patter-
son. He came to Hollywood, the most
luxuriant oasis of feminine beauty, and
straightaway married an English actress
who had preceded him to the film capitol
by only a week ! Although they had
played simultaneously in London they had
never met before. The suddenness of their
marriage left his friends on both sides of
the Atlantic mildly stunned.

To my mind it is the tnost easily ex-
plained of all. It was, if you and Mr.
Boyer will pardon my assumption, almost

for } 11 n e 1933

according to formula. For a man who has
safely run the gamut of the women of the
world, such as Boyer, there is one, type of
girl who may capture his heart. That
type is exceedingly rare. A girl who has
buffeted through life all by herself and
emerged with the ideals of her girlhood
intact. That virtue, combined with beauty,
and a bubbling personality cannot fail to
appeal. And so Pat became Mrs. Charles
Boyer.

One more word about the man himself.
His hobbies are — none! All of his en-
ergy is absorbed in his work. But for
mild relaxation he plays a bad game of
golf, fairish tennis, and reads avariciously.
He and his wife spend long hours at home
playing billiards. He usually wins. He
likes billiards. And he loves dogs (He
has a Boston bull).

He detests flattery. He doesn't like to
be recognized on the street. His chief am-
bition is to be able to lead a double life :
his professional life on the screen or stage,
his private life among his friends.

I might add, in closing, that his is tre-
mendously likable. He is serious only
about his work. He likes friends.

Joel McCrea

Continued from page 23

producers as a potential motion picture actor.

"I wish you could make it clear that I
was never a social climber," he empha-
sized to me. "If that had been my aim I
wouldn't have bothered to go into pictures
at all !" Which, come to ponder it, is an
obvious fact.

The seal of social approval was put on
Joel when Marion Davies began inviting
him to all her parties. There he apparent-
ly intrigued lovely headliners who were
between husbands or steady boy-friends.
Shortly he was being seen about town with
Gloria Swanson, Constance Bennett, Dor-
othy Mackaill ; and that automatically was
a break.

"Sure, going places with top-notchers
was a definite help," he admitted. "Pro-
ducers must have thought that if I were of
interest to them I must have something.
But the most valuable result of those con-
tacts was the self-confidence I slowly ac-
quired.

"You know, you have to possess a sane
assurance to succeed. After a while I dared
to express myself, to put my best foot
forward, too. / concluded that I must have
something or I shouldn't be liked."

Not many Hollywood stars dare to- be as
frank as Joel, and that's only one of the
reasons he is interesting in person.

"I really don't know why I was so for-
tunate," he went on, seriously. "Unless
it was because I was so sincere. I wasn't
social climbing. Maybe my not drinking
helped ! Abstaining is like wearing your
hair long ; folks think there's something
wrong with you." He paused, then mut-
tered, "And while they're guessing they
aren't forgetting to invite you up again
any time !"

His purpose in chumming with the
famous was, therefore, an innocent one.
Joel simply fathomed that many a rose
blushes unseen ! As he became busier he
went to fewer parties. He has retained
the friendship of everyone who has come
into his life, but time and new interests
have caused him to care little for Holly-
wood society.

Chiefly, I judge, because he has married
Frances Dee and the simple routine ap-
peals to them. They have their separate
careers, their baby, their home in Brent-
wood and their big ranch. Instead of let-
ting all this complicate their existence, they
find everything fits into the new pattern

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nicely — by sacrificing the gadding about.

Yet that isn't the sole answer for Joel's
renouncing his place as favored guest. He
senses that when you reach a certain point
on the climb to the Hollywood top you
no longer need to be seen about so much.
Nor do you have to go on telling little white
lies. Being too obliging is a great mis-
take, Joel contends.

"I used to be so anxious to please every-
one in Hollywood. That was a Herculean
task ! Experiences have taught me that you
not only have to stick to your own guns to
get ahead, but that people won't ban you
for having nerve enough to do so.

We drifted back to the subject of roles,
the pet topic of any star. Since he has
been free-lancing Joel has played opposite
such excellent actresses as Barbara Stan-
wyck, Miriam Hopkins, and Claudette Col-
bert. Currently he has dared to play with
the scene-stealer supreme, Shirley Temple,
in "Heaven's Gate."

"I was the loudest complainer on the
lot where I used to be a fixture," he rem-
inisced. "It didn't make any difference.
But, anyway, for five years I tackled so
many dizzy parts that I've improved tre-
mendously— by learning how not to act !"

Today he takes regular lessons from
Samuel Kayser, the veteran coach who
trained Ann Harding and numerous others.
Conscientiously Joel is making every ef-
fort to justify his claim that run-of-the-
mill heroes are now out of his line.

"Funny how people react when you say
you've always wanted to be an actor, isn't
it? I fancy they think, 'Yeh, he's just
been lucky and he has to say something !'
Well, I have been lucky. I've had mar-
velous breaks ; anyone who lasts in Holly-
wood has to have them. Nevertheless, I
didn't drift into pictures. I'd made up
my mind about them when I was nine
years old.

"I could have been a lawyer, but even as
a kid I longed to be an actor. I felt some
urge within me that instinctively directed
me this way. So many players kick about

Iris Adrian's fashion hint for
cruising — jersey slacks, brown with
bright yellow stripes.

Hollywood. I'm crazy about it. I've never
been disillusioned. Perhaps because I grew
up here and I knew about the false fronts
from the start.

"If I may turn back the pages to my
childhood?" He called to two fellows that
he'd be down in the gym to play handball
soon, and then resumed. "I can confess,"
he said with a grin, "that I learned about
this glamor racket when I was but a tender
tot of twelve ! You see it went like this.

I was dancing with Elinor Glyn, no less,
and I was curious at that age, too. So I
simply .asked the lady what the blue stuff
over her eyes was !

"When I was fourteen I started going
to the Saturday night dances at the Holly-
wood Hotel, then our stellar mecca. I
gaped at every celebrity and wondered
what made 'em tick. All the time I was
in college I tried out for school shows,
and during vacations I worked extra. And
then I learned !"

Before he fell in love with Frances he
gave speeches to me on why he would
never, never wed an actress. Which he
proceeded to do. And the idolized Mrs.
McCrea is combining wifehood, mother-
hood, and a career so capably that Joel
has completely forgotten his platform
promises of yesteryear.

However, his Frances is not the average
Hollywood type. She and Joel are in per-
fect harmony because their tastes are sim-
ilar, doubtless the result of parallel child-
hoods. Frances also comes from a family
of culture and means ; and she, too, went
to college.

A chance jaunt to Southern California
led to an extra job, as a lark. Maurice
Chevalier noticed her lunching at the Par-
amount Studio one noon and immediately
announced that she was the kind of lead-
ing lady he was seeking. She filled the bill,
and ever since has progressed admirably.
While she originally did not have the dom-
inating desire to act which drove Joel on,
she now shares his enthusiasm.

Those of you who suspected that Joel
McCrea could be useful as well as orna-
mental on the screen will applaud his dec-
laration of independence. Here is one star
who thinks of more than just collecting big
checks. He has a hearty respect for both
his own potentialities and for the loyalty
of his fans. Already he has demonstrated
that he can stand up with performers of
unquestioned ability. Give the lad a pat
on the back for walloping his "too-hand-
some-to-be-any-good-as-an-actor" jinx !

Page Miss Glory

more than anything else it's towels !" He
looked resentfully after her as she disap-
peared into the bathroom. She was a sweet
kid and all that, but it was annoying the
way she kept hanging around.

For once he was glad to see Gladys, Ed's
future ball-and-chain, even though her com-
ing meant the old unending argument about
jobs and things, for the evening paper was
tucked under her arm and Click's day al-
ways began with the final edition of the
newspaper.

"Every time I come in here I catch that
chambermaid popping out of the bathroom
or a closet or something," Gladys began
belligerently. "What's the big idea?" She
pulled impatiently away from Ed's prof-
fered kiss. "What have you done about
getting a job today besides sleeping?"

"Honey, you know the papers've got more
news photographers than they can use."
Ed looked at her reproachfully. "I'd take
ten-cent tintypes in Central Park if I
hadn't hocked my lens."

"Don't bother looking for that kind of a
job." Click looked up from the paper with
a lordly air. "I'm due for an idea any
minute now, and then we'll make money
and you two can get married."

"Don't worry about us!" Gladys turned
on him. "Why don't you get married your-
self ? Maybe you won't be hanging around

Continued from page 21

then making a first rate loafer out of Eddie."

Click flicked the ash from his cigarette.

"I never met a dame yet who could get
by with me."

Gladys laughed shortly as she tossed a

COpy Of SCREENLAND Oil his lap.

"Why don't you give Garbo a break ?
I hear she's lonely."

"Well," Click looked the cover over
critically. "I like her mouth, but I don't
care much about her hair or chin. I like
Jean Harlow's hair better, and Marlene
Dietrich's ankles would suit me and Kay
Francis' nose and — ■"

"Garbo, Harlow, Dietrich, Francis !"
Gladys shrugged. "You'd .have a tough
time getting a date with Minnie Mouse."

Click ignored the insult and sought ref-
uge behind the paper. Suddenly he stiffened
and came to quick attention.

"Listen to this !" he shouted. "A full
page ad. The Nemo Yeast Company offers
a cash prize of $2500 for a photograph of
America's most beautiful girl to be used
as a model for a coast to coast poster cam-
paign." He got to his feet and waved the
paper triumphantly. "Send in your photo-
graph now !" He shouted.

"Do you think you're beautiful enough?"
Gladys asked patiently.

"Listen !" Click disregarded her as ef-
fectively as if she were a fifty-dollar-a-

week job. "There's no one most beautiful
girl in America. There's the most beauti-
ful eyes, the most beautiful lips, nose, and
hair — but they're on different people. Get
it ? All these yeast people want is a pho-
tograph. Why couldn't we give them one
with the most beautiful eyes, hair, and
everything else on one and the same per-
son?"

"Oooooooh !" The old admiration came
back to Ed's eyes. "I get you — a com-
posite photograph!"

It was amazing how things went once
Click had an idea and Ed was there to do
the actual labor. In a few hours the pho-
tograph was finished, and even Gladys
had to admit the composite girl was a
honey.

"You know, this idea is just nutty
enough to be good," she admitted reluc-
tantly. ' ' - ^

"Good!" Click stared at her. "It's the
dawn of a new glory for American woman-
hood." He paused, impressed by his own
eloquence. Suddenly he snapped his fin-
gers. "Dawn Glory — that's what we'll call
her. What a name ! What a girl !"

The three days before the winning pho-
tograph would be announced seemed in-
terminable. Click found it impossible to
turn that fertile brain of his to other uses
even though the papers were full of the

for June 19 3 3

Turner Quadruplets who had been born
in a blizzard in Alaska. That might have
turned into a possibility for some stunt or
other with all of them catching cold and
hovering on the brink of pneumonia and
the announcement of the Medical Centre
that they had rushed a serum to completion
to save the babies.

But Click had Miss Glory on his mind
and dismissed it with the laconic, "If they
can get hold of that dare-devil Bingo Nel-
son he'll fly it through the blizzard for 'em
upside down and come back with tropical
fever !"

Loretta couldn't understand what had got
into the gentlemen in 1762. They hardly
let her into the rooms at all these days even
to make up the beds, and when they talked
finance it sounded like telephone numbers.
She was waiting anxiously outside their
door Tuesday evening after having been
almost forcibly ejected when her heart sud-
denly stood still.

It couldn't be — and yet another glance
told her it was — it really zvas Bingo Nel-
son ! The miracle that happens once in a
thousand times had happened to her. There
he was, the same smile she had languished
before so often ; his eyes, somehow she had
always known they would be blue ; and his
hair as curly as the permanent wave she
had seen advertised for only three dollars ;
and the teeth she told herself were as ar-
tistic) as any toothpaste ad. And he was
coming towards her, and was actually stop-
ping, was talking to her !

"Sister, where's room 1762?"

It passed for what might have been a
symphony concert had Loretta ever heard
one.

"A-a-aren't you Mr. Bingo Nelson?" she
stammered. "Th-the man who flew the
lion from Africa to F-florida?"

"Guilty, Judge." Bingo bowed with the
nonchalance that had fluttered a thousand
hearts.

"W-will you autograph my apron, Mis-
ter ?" She held it up expectantly ; and then
as he laughed and pulled out his pen she
was almost afraid of the wild beating in
her heart.

"Sure!" Bingo laughed. "I'll sign any-
thing. That's been my undoing all these
years."

It was all she could do not to reach out
and touch his hair, not to run after him
and make him stay a little longer.

Click held up a warning hand as the
door opened. The three of them, he and
Ed and Gladys, were clustered around the
radio waiting for the announcement that
was due any minute. But the Nemo Yeast
Company must have had a perverted sense
of humor or something and kept them on
tenterhooks, as its usual program of songs
and announcements went blithely on.

"Bingo !" Click leapt to his feet. Even if
Miss Glory was going to make embryo
millionaires of them all in a few minutes
there wasn't any reason he couldn't pick
up a few dollars on another scheme and the
quadruplets weren't such everyday affairs
they could be altogether ignored by his
scheming brain. "If I tell you where you
can get a job will you lend me a hundred
bucks ?"

"I've got a job." Bingo grinned. "I'm
going to fly the Turner Quadruplets some
syrup or something. Say," he demanded as
Click, losing interest in him with the col-
lapsing of his scheme, turned back to the
others. "Why are you all listening so hard
to the radio?"

"We're waiting for it to give milk," Click
sighed wearily.

"Tell it I'll take an old-fashioned with-

out too much ice," Bingo announced cheer-
fully. He stopped suddenly as he saw some
prints of the composite photograph of Miss
Glory on the table. "Who's the eyeful?
Boy ! She's there ! I need a little of that
warmth for the trip I'm making tonight.
She's marvelous ! I'd marry a girl like
that."

"No foolin' !" Ed grinned.

"I mean it !" Bingo was working him-
self up into a fine enthusiasm. "You boys
think I'm crazy — but I'm in love with her
already. Who is she?"

"Her name's Dawn Glory." Click was
urging him towards the door. "She's
crazy about you, too. Here, take her pho-
tograph ; we've got millions of 'em. Now
get outa here, Bingo. Fly your egg-crate
up to the quadruplets. If you don't hurry
there may be a couple more by this time."

"She's crazy about me?" Bingo repeated
ecstatically. "Boy ! Nothing'll stop me
now. I'll melt my way through that bliz-
zard coming back !"

The door had hardly closed behind him
when the buzzer sounded again, and Mr.
Yates made his disapproving way towards
them. Click held up his hand again in a
quick gesture as the radio began blaring.

"Ladies and gentlemen, the winning
photograph will be announced now ! But
first, we want to say — "

There was nothing they could do but
listen — listen to the usual advertisements,
the usual condolences to the unfortunates
who had lost. To listen, and wait, and
wait, and listen.

And with Mr. Yates menacing them from
his position in front of the door Click found
himself doing something he hadn't done
in years. He actually found himself pray-
ing!

{To Be Continued)

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Rosebud"

Continued from page 17

Marlene Dietrich didn't want to start in it
unless von Sternberg directed it; so she
became temperamental and walked off the
Paramount lot. So Paramount brought
suit against Miss Dietrich and phoned
Claudette Colbert, who was packing her
trunk out in Brentwood, to get ready to do
the picture at once. So Claudette called
me and said, "I can't go to New York with
you Saturday, I'm going to do another pic-
ture" ; and I said, "You can't do that to
me," but Miss Colbert said she could. So
I was sitting in Joan Blondell's living-
room when this conversation took place,
the second time I had ever met Joan, and
I was fit to be tied because there is noth-
ing so boring as four days on a train by
yourself, and in those days I wasn't air-
minded. So Joan, swell gal that she is,
took pity on me, and before she even knew
what she was doing herself, invited me to
go to New York on Saturday with George
and herself, though of course we'd all have
to stop over in Phoenix to attend her wed-
ding to George. Gee, was I thrilled ! I'd
always wanted to go to Arizona on one of
those movie elopements, and with two such
grand people as Joan and George — well,
that's why I go around today kissing Joe
von Sternberg, figuratively speaking.

As it happened, Marlene took one look
at the figures in the Paramount suit,
swooned, and hastily decided to do the
picture with Mamoulian; Claudette re-
turned to her trunk-packing and sent me a
wire; and I had to leave a perfectly good
wedding feast in Phoenix and catch the
Chief in Pasadena that night. And that
might have been the end of that, but it
wasn't. You can't toss aside a maid-of-
honor like an old shoe ; and you may be
sure I constantly reminded Joan of that,
and she was very nice about it. And be-
sides, when I came back from New York
I found that Fate had again taken a hand
and that definitely the Blondell was destined
to cross my path. Without even knowing
it I moved into Joan's former apartment
in the English Village, vacated by her only
a few months before when she built her
charming home on the tiptop of Lookout
Mountain. Well do I recall that awful
morning of moving when the agent came
to me to point out a few of the weak points
of the place. "My goodness," she said,
"I certainly hope you won't have as much
trouble with the refrigerator as Miss Blon-
dell did. It was always . stopping up and
dripping on the people below." From that
I gathered that my pal Joanie wasn't so
hot as a housekeeper. (She doesn't have
to worry with leaky refrigerators now for
she has a perfect jewel of a colored couple
from Louisiana, Clarence and Chalmet, who
can fry chicken and buttle like nobody's
business). Then the telephone man arrived
and what do you think? He gave me the
very same phone number that Joan has,
except of course with a different exchange.
Even then I thought it was all a lot of
circumstantial evidence ; but a few weeks
ago I went to the Santa Anita races, as
who hasn't, and bet my all on Blondella,
and strike me pink if the nag didn't come
in and pay big odds. Then I knew that my
life was hopelessly entangled with that of
the Blondell, and that she and George
might just as well face the facts and make
the best of it.

Joan, like all interesting people, is a
series of contradictions. She always starts
out by not liking people. Greenland's icy
mountain couldn't be as cold as Miss Blon-
dell's "How do you do" when she is first
introduced to you. She assumes that she
doesn't like you, and you have got to show

her a mighty good reason why she should
like you before she will change her mind.
As a consequence Joan has very few close
friends. And she prefers men friends to
women friends. But once Joan has decided
to accept you as a friend the entire world
may turn against you, you may commit
murder and everything else, but Joan is
going to be right there making things easy
for you.

With the exception of Garbo she's about
the hardest person in Hollywood to get
acquainted with. Now as a direct contra-
diction to all this, take me, but don't take

For art's sake, Grace Bradley
even hides her lovely eyes to
show you

her chic straw hat.

me too seriously, I'd only met Joan the
second time when out of a blue sky she
suggests that I elope with her and George.
(Joan has always been nice enough to say
it was because I "clicked" at once, but I
have a feeling that it was because Joan
takes pity easily and that day the prospects
of facing Kansas alone had me on the verge
of tears). Anyway, just when you put
your finger on Joan and say with an air of
finality, "She's like that," then immediately
she does something that isn't like that at
all. Except in making friends she is the
most impulsive person I have ever met.

Perched atop high stools sipping cock-
tails in Joan's and George's cozy bar, or
sunk deep in luscious chairs in the new
"blue room," or gathered about the table,
and my, my, what a table Mrs. Barnes sets,
in the Early American dining-room are
found Norman Foster, Glenda Farrell, Ed-
ward Everett Horton, Claudette Colbert, the
Jimmy Cagneys, and the Eddie Nugents,
who happen to be Joan's best friends among
the movie contingent.

One of her closest friends, Barbara Stan-
wyck, Joan rarely sees, but when it comes
to honest-to-goodness admiration Joan
thinks there is nobody in the world like
Barbara. Their friendship dates back to
five years ago when Joan, new to Holly-
wood, very, very poor, and burdened with
all kinds of responsibilities, was put into
the cast of "Night Nurse," starring Bar-
bara Stanwyck. Joan had worshipped
Barbara in "Burlesque" on Broadway and
considered her the top in actresses, so she
was thrilled to death to meet Stanwyck.
One of the first scenes they had to do was
the scene in the nurse's room where Bar-

for June 1955

bara had to undress down to her step-ins I
while Joan talked to her. Joan began
muffing her lines like an amateur, and the
harder she'd try the more she would blow
up, and poor Barbara kept having to dress
and undress until beads of perspiration
stood out on her forehead. Finally Joan
sick and nervous and horribly embarrassed,
began to cry. "I hate to do this to you,
Barbara," she mourned. "Ah, forget it,
kid," said Stanwyck. "I don't mind un-
dressing. I need to reduce anyway. Say,
you're sick. Come over to my dressing-
room and smoke a cigarette. These dopes
can wait till we get ready." And the star
walked off the set, followed by a grateful
Joanie.

That night when Joan came out of the
gate of the Warner Studio there sat Bar-
bara in her big car waiting for her. "Get
in," she said. "I'm taking you to my doc-
tor." "B-b-b-but," stammered Joan think-
ing of her bank account which was
practically nothing. "Listen, Belle," con-
tinued Barbara, "this doctor's bill is on me. j
You haven't any money. I've got too much.
You can pay me back five dollars a month,
or you needn't bother to pay me back at
all. So shut up." The doctor discovered I
that Joan worn out from hard work and
financial worry, was on the verge of a
breakdown, and right after the completion
of the picture she was hurried off to a hos-
pital. Stanwyck came to see her every day
and brought some kind of a crazy present
to make her laugh. Joan borrowed the
money from Warner Brothers to pay her
bills — but Barbara did her best to pay them.
Last winter when Joan was in the Cedars
of Lebanon after the birth of young Nor-
mann Scott Barnes the nurses there told her
of numerous poor patients that Barbara
had quietly helped, not only with money,
but with visits and gifts. According to
Joan, (who is the soul of generosity her-
self), Barbara Stanwyck is the most gen-
erous person in Hollywood, though she gets
the least publicity about it. Barbara wants
it that way. Yes, if you want to get Joan
all choked up and have tears glisten in her
eyes just start her talking about Barbara
Stanwyck.

And what of that happy marriage that
has been cooed over and gooed about by
every fan writer in Hollywood? Sure, Joan
and George are happily married, but that
sweetness and light business is a lot of
hooey. They have their battles too, my
dear, even as you and I, and with Joan be-
hind the machine guns things do hum right
smart. Joan has a most jealous disposi-
tion, only when it concerns George, how-
ever ; and she can work herself into a per-
fect fury of jealousy over nothing at all.
Her battle technique is to throw George
on the defensive at once and start the
bombing. Only the other night I was
treated to a lovely little scrap. George was
informed while we were at dinner that a
Mrs. Smith wanted him on the phone. Joan
froze, the conversation froze, even the pud-
ding froze while we all listened ta George.
"Yes, this is Mr. Barnes," said George,
who is the most polite and gentle person
in the world. "No, I'm sorry but I'm not
that Mr. Barnes" . . . "No I'm not a
property boy" . . . "I'm sorry, but you must
have the wrong Mr. Barnes" . . . "Why,
it's quite all right. No bother at all. Good-
bye."

"She had the wrong Barnes," said George
genially, returning to his coffee. "She
wanted you, I know she did," stormed Joan,
going into battle with flags flying. "But
darling, I don't even know who she was,"
insisted George. "Yes, you did" screamed
Joan. "But anyway, even if you didn't
know her, you had no right to be so nice
to her !"

That's Joan for you. She doesn't make
sense. She can no more help being jealous
of George than birds can help flying. You

"When a man kisses, he wants to kiss soft and
smooth lips — not crinkly and rough lips!

Yet so many lipsticks don't consider the
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just get used to it and don't mind. When
the battle is over, and the bruised and bat-
tered are being removed from the field,
Joan will suddenly regain her sense of
humor and simply die laughing at herself
for being such an idiot — what can you do
with a dame like that?

Personally I didn't think Joan would
make a very good mother ; but it seems that
I was all wrong, for Joan has developed a
most terrific maternal instinct. From the
minute he was born young Norman Scott
Barnes, (named after Norman Foster), has
been the object of the greatest affections.
And he really is the cutest baby I've ever
seen. Normie has inherited George's sweet
disposition and the Blondell energy and
eyes, and he has a grin that goes from ear
to ear. I have never once heard him cry,
which is some kind of a record, I'm sure.
After the stars take one look at that
healthy, beautiful, grinning baby they all
go away planning to have an infant of
their own. Sort of cute, I think, was the
crack Joan pulled the other night. George
was telling us that he knew the age of a
certain director's son because "he was born

while we were making 'The Sheik.' " "Oh,
gosh,'" said Joan quite seriously, "I hope
people won't date my son by the 'Kansas
City Princess.' "

Joan likes chop suey, mashed potatoes,
movies, plays, Early American furniture,
Garbo, etchings, New York night clubs,
pay day, antique shops, auctions, Fifth
Avenue buses, dancing, and camping trips,
(which she has given up since the advent
of Norman). She dislikes, she hates,
Spanish houses, movie stars who take
themselves seriously, sand under her nails,
doormats, scraping noises, formal parties,
women who fawn on George, all people
who say the baby looks like her instead of
George, reckless driving, false accents and
birds — if a bird flies over her head she runs
screaming into the house and practically
has hysterics. She is hard on her stock-
ings and her ambition is to do a Cecil B.
DeMille super colossal production and act
all over the place.

There is only one Joan Blondell. Again
I thank Joe von Sternberg for going to the
South Seas. Life would have been very
drab without Joanie.

W. C Fields' Real Life Story

Continued from page 15

existence. He was an under-nourished,
nerve-wracked child, too long on the de-
fensive. Stumbling away from his father,
he seized the box, mounted a chair, brought
it crashing down on his unsuspecting
parent's head, then jumped and fled into
outer darkness.

For a boy of eleven to run away from
home is no uncommon feat. But for that
same boy to spend the next four years of
his life in his own home town, a waif and
vagabond, sleeping and eating where he
could, unsought, unmissed, preferring the
miseries of cold and starvation to the
misery of return, is probably without pre-
cedent in the annals of fugitive childhood.

Fields tells the tale without self-pity,
characteristically dwelling on its more de-
bonair aspects. "Any kid who wants to be
a hero to the neighborhood gang," he points
out, " — all he has to do is stop sleeping in
a bed. None of those boys were pretty-
willies. Lots of 'em were bigger and older

than I was and could've pushed my face in
without half tryin.' But there always came
a time at night — late maybe, still it came —
when the biggest and toughest of 'em had
to run home to mama. I didn't. They
wouldn't believe it at first. They'd follow
me to whatever hole I picked. 'Ah, g'wan,'
they'd sneer. 'You'll scram the minute
we're gone.' Well, maybe they didn't say
scram, though the Lord alone knows how
they managed without it. 'All right,' I'd
tell 'em, 'stick around and see.' But they
couldn't stick around — " the corners of his
blue eyes crinkled with remembered satis-
faction. "I'd curl up and pretend to go to
sleep, and pretty soon they'd slink away,
mutterin'. One morning about 5 :30 — I
could never sleep after 3 — I saw one smart
aleck comin' down the alley, hopin' and
prayin' he'd find me gone. I closed my
eyes again — all but a crack — and I'm telling
you, the biggest kick I ever got was the
look on that guy's face when he stood

Renewing acquaintance on the film lot! W. C. Fields welcomes Fred
Stone to Hollywood where he will soon make his first talkie.

for ] u n e 1933

there gapin' down at me — the kid that
didn't have to go home at night."

Ask him what his sensations were when
the fellows left him in his vacant cellar or
hallway, and he'll shrug his shoulders. Use
your imagination, and you'll realize that,
whatever fun the situation may have
held, its undercurrents ran bleak and deso-
late. A child of eleven, however hard-
boiled and self-reliant, is still unprepared
to face the struggle for existence. Throw
him on his own resources in a so-called
civilized community, in the so-called tem-
perate zone, under the necessity of provid-
ing himself with food and clothing and
shelter, and if he's a child of this one's
calibre, he'll manage — as young Dukenfield
proved — to keep his head above water. But
— adventure or no adventure, prestige or
no prestige — he won't enjoy it.

At first his friends brought him what
provender they could. But as with all
nine-day or nine-week wonders, his glamor
waned, and he had to begin foraging for
himself. The saloons were his best bet.
With a nickel won by hook or crook at a
poker game, he'd saunter in and order a
ginger ale. Sauntering out past the free-
lunch counter, he'd stuff his pockets with
whatever lay handiest. Sometimes the bar-
tenders were busy or soft-hearted — in which
case he'd retire to privacy with his haul
and feed his famished young body in peace.
Sometimes he'd be nabbed and kicked off
the premises — in which case he'd endure
his hunger philosophically, till he could find
or make the chance of coaxing another
nickel his way.

So he lived for three years, always in
dread of the pursuit that never materialized,
changing his abode at will, dirty and freez-
ing under his rags through the winter
months, but never once dreaming of ex-
changing his parlous freedom for the doubt-
ful shelter of his parents' roof. Scoff as he
may at his family tree, someone somewhere
along the line had endowed him with a
grit and strength of purpose that were no
mean legacy.

Then came the revelation. Like most
revelations it burst upon him from a seem-
ingly tranquil sky. He was looking for-
ward to no more than a pleasant treat, ar-
ranged by two philanthropic friends who
were taking him to a show — a rare event
in his life, to be sure, but less than world-
shattering. He watched the stage with a
boy's normal interest till the juggling act
of the Five Byrne Brothers was announced.
As they began tossing their balls and canes
and other paraphernalia into the air, Bill
leaned forward, entranced. He forgot who
and where he was. His mind and imagina-
tion were caught up in that spectacle of
unbelieveable twirls and parabolas, of un-
canny timing and flowing movement and
apparently effortless defiance of all the laws
of gravity and equilibrium. His whole be-
ing surged in excitement. "I can do that."
He didn't say it or think it. It was less
an idea than an emotion that rose and en-
gulfed him and left him stunned for the
moment with its vision of glorious possi-
bilities. When the curtain fell, his hands
and forehead were damp with perspiration.

"Nice work," remarked one of his hosts.

"Yeah," said Bill.

From that time on, he labored toward a
single end. He was going to be a juggler.
He'd discovered the job he'd been born to
do and, fired by enthusiasm, steadied by de-
termination, he set about the task of teach-
ing himself to do it. He started practicing
with apples, but they rotted literally on his
hands. He lurked about the fringes of
tennis courts, waiting for a ball to be
bounced out of bounds so he could grab it
and run. He graduated to sticks and stones
and whatever he could find in the neighbor-
hood refuse heaps — tin cans that cut his
hands, heavy boards that mashed his legs

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and feet. For a year he was bruised and
welted by the objects he tossed and tried
to catch but missed. To this day he bears
on his legs the scars of his early experi-
mentation. But he kept on through dis-
couragement and defeat — through sixteen
hours a day of work and work — through
such pain and weariness as brought the
tears rolling down his cheeks — grimly bent
on "getting somewhere," though he maimed
or killed himself in the process.

All this may sound overdone. A child
who brought the same fervor and persist-
ence to the study of music or medicine
would be praised and beamed at and patted
encouragingly on the head. But juggling?
To waste all that spirit and energy on a
thing like juggling? To which the reply
is again, Nuts! Bill knew he could juggle
if he tried hard enough. It was juggling,
not music or medicine, which appealed to
his instincts. And he had the spunk and
wisdom to plunge himself heart and soul
into the work his instinct told him he
could do.

When he felt he was ready, he put on
a performance for his friends — with such
success that offers came raining in — for
church benefits and charity bazaars. At
last he got his first paying job, at $5 a
week. His second brought him $10. Slowly
he worked his way o. . and up through beer
gardens and summer fairs to New York.

There a manager looked his act over and
offered him $35 a week. "I thought he was
loony," says Fields, "but I took it anyway.
When I got the first thirty-five, I didn't
know what to do with it. First, I gave it
to the hotel clerk and told him to put it in
the safe. Then I got to thinkin' about all
the hotel clerks who were phonies and all
the safes that were robbed. So I got the
dough back and stuck it in my pocket and
held my hand over it. That w?ent on for
three weeks. By that time I was carryin'
eighty-five dollars around — I managed to
spend ten bucks a week by livin' like a lord
— and that was the smartest thing I ever
did. Because on my way home from the
theatre one night, a guy cracked me over
the head and took my roll. Say — "he
turned on me — " 'dyou ever, have the world

come topplin' down round your ears? Be-
cause if you did, that's the way I felt that
night. I'd been a millionaire for three
weeks, and here I was a pauper again. I'll
never forget it. I'll never feel as rotten
about anything again. I lost plenty in the
Harriman bank crash, and what I think
about bankers you wouldn't print. But
they're angels of mercy to me, compared
with the gorilla that nicked me for eighty-
five smackers — "

He didn't have to worry about money
long, however. Europe and Australia were
clamoring for jugglers, and Fields was
booked for a tour that took him round the
world. It was on that tour that he started
the course of study which he still pursues.
Having educated his fingers to earn him a
living, he began educating his mind for the
fuller enjoyment of life. Having fed his
starved body, he was now free to feed his
equally starved brain. He went down to
a book-shop, and asked the clerk to pick
him out a trunkful of the classics. Locked
in his cabin, he spent his days with Mar-
lowe and Bacon, with Shakespeare and
Emerson, lapping them up with the accumu-
lated thirst of years and the feeling of
"where have you been all my life long?"
From that day to this, he's never stopped
reading. Having begun with the masters
and loved them, he's never felt the need to
descend to literary pap. He has a diction-
ary and thesaurus on his table at home and
another set in his dressing-room, because
when he's in one place he can't wait until
he gets to the other to look up an un-
familiar word. He got started a little late
on his education, but he'll keep it going as
long' as he's going himself.

Before starting for Australia, he visited
the home he'd left eight years before, and
found it unchanged. He felt no sentimental
yearnings to fall on his parents' necks. He
made what provision he could for their com-
fort, then set sail in peace for new pastures
in the old world.

(Next Month: Fields' European
adventures and his first big Ameri-
can successes, including nine years
with the Ziegfeld Follies.)

Marlene Looks Ahead

Continued from page 29

act had finally reached the stature of one
of the most dazzling and breath-taking-
flops the film world has ever known. "The
Scarlet Empress" had left woe in its wake,
and the new one, "The Devil is a Woman,"
had given its producers a ghastly case of
head-scratching and moustache-gnawing.
Something had to go bust — and it did.

Now Marlene is on her own — and so
is von Sternberg. I rise in meeting, clear
my throat and say it is the best thing that
could have happened — for their sakes, for
the company's sake, and for ours.

Dietrich was no longer an actress, but a
puppet. Von Sternberg was no longer a
first-rate movie director, but a Svcngali,
casting his spell about a beautiful woman
who had come to depend upon him for
every eyelid-flutter before the camera. It
is no exaggeration to say that she has
leaned on his direction as some souls do
on drink or drugs.

This Pygmalion-and-Galatea monkey-
business has been going on so long that
many of us have wondered whether she
can really act — whether old Von can actu-
ally direct a lick! Then we remember
her in "The Blue Angel" and "Morocco,"
those first films of hers that knocked us
headlong from our pews. Then we recall

that von Sternberg, before he turned ego-
driven Master, directed "Underworld," one
of the finest movies that ever blew up in
our faces. But now they've got to prove
their worth all over again!

I've made it my business to investigate
this affair for you, and the other day I
witnessed Dietrich under the new deal.
I found a Dietrich nobody knew existed,
but had always hoped for. It wasn't the
Marlene who once told a Screenland re-
porter, "It is not easy for me to meet peo-
ple. I am always embarrassed and ill at
ease." It was no orchidaceous baby-doll
doing a second-hand Garbo. Nor was it
a defiant Dietrich in pants, tailored for
publicity and getting horse-laughs from
the peanut gallery where we film fans sit
and watch for sincerity.

No, indeedy — the Dietrich I saw the
other day was a new one, and a pip. A
beauteous and bewitching woman-Dietrich
— gracious, friendly and poised. An A-
number-1 vision in a long black velvet
tea-gown, high-necked and long-sleeved,
with a bunch of purple violets at her waist
and an honest smile on that superb pan !

I sat and talked with this New Deal
Dietrich. Around us gabbled and gobbled
a hundred and fifty charter members of

for June 1935

the New York Motion Picture Free-Load-
ers Association, guests at a mighty cock-
tail party and sandwich-grab tossed in her
honor. Three years agp you couldn't have
dragged Dietrich to one of these rackets
with a span of tractors — yet here she was,
big as life and twice as beautiful, taking
it like a major, meeting the mob one by
one, with a smile and a word for every-
body. After the dizzy ducking of the past,
it was a fair treat to see this queenly cutie
take her hair down and go regular! As
an old-time omen-taker, I take it as a
good omen for the future.

I dared to sit right down beside her on
a golden chair — as close as I am to you
this minute ! — and ask her how she felt
about the Great Break-Up.

Aii Revoir Maurice! Chevalier
sails for a vacation in Paris.

"I am very unhappy about it," she said,
and she looked unhappy. "But it was von
Sternberg's wish, and that is the way it
will be."

"Have you any idea what director Para-
mount has in mind for you?"

"Not the slightest," she said, "and no
story has been chosen for my next pic-
ture. As soon as I get back to Holly-
wood these things will be settled.'" She
said it with more resignation than good
cheer.

She had arrived in New York in a blaze
of Page One publicity. She stifled idle
talk of a Garbo-Dietrich feud by remark-
ing that she had never even met Miss
Garbo. And when one brash Broadway
cameraman suggested that she raise her
skirts and display several inches of the
beautiful legs that helped make her famous,
Marlene caught our fancy by saying "I
see no reason for it. They ar.e very well
known!" And she has trouped nobly, no
matter how unhappy she may be.

Dietrich says that the Fatal Parting
with von Sternberg was his wish. At this
I lower one eye-lid. Her company may
have had some notion about it, too. There
is no doubt that she mourns his loss.

The Princess Paley, who went to Holly-
wood to appear in the French version of
"Folies Bergere," and is a wart i friend of
the German girl, says that Marlene not
only feels deep gratitude to the director,
and reverences him as an artist, but is
really fond of him, too. The Paley also
offers an interesting but ominous sidelight
on the strange partnership that is no more.

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She says that Dietrich, unlike the worri-
some Garbo who frets herself ill over un-
favorable criticism of her films, never bats
an eye at critical attacks on her pictures.
The reason? Von Sternberg, figures Mar-
lene, is a great artist. He made the pic-
ture the way he wanted to. Therefore, if
fans and critics denounced the film, the
critics and fans were asses. In effect, von
Sternberg could do no wrong ! I ask you
— could blind faith and self-delusion go
further?

For the stark and brutal truth is, of
course, that in the past year or two von
Sternberg has not directed "motion pic-
tures" at all. He has, on the other hand,
erected lavish, unwieldy spectacles to frame
the beauty of his star. Giving up the mak-
ing of pictures that move, he has created
a series of fabulous tableaux. Oddly
enough, not even Dietrich has been per-
mitted to act, but merely to pose. As for
the supporting mummers, God help them,
they have been fleeting flashes or lifeless
faces on the cutting-room floor.

And more and more the Dietrich has
come to lean on her faith in his com-
plete and infallible genius. If you do not
recall, or know, the whole story of this
unique and amazing union of director and
star — the only one of its kind, really, in
screen history — you're missing a fascinat-
ing romantic chapter of the story of the
films.

Von Sternberg, a movie wonder-boy
with some fine silent films to his credit,
is in Germany to make a picture for Par-
amount. It's 1929— the talkies are new.
He has a fine story called "The Blue An-
gel." The great Emil Jannings is to play
a respectable, middle-aged school teacher
suddenly hypnotized and ruined by a beau-
teous hussy in a cheap music hall. It's to
be a tour de force for Emil.

But Von needs the girl. He goes to
a theatre. He sees a lovely face — hears a
rich, throaty voice. The name is Marlene
Dietrich. He meets her, tests her, hires
her. The amazing partnership has begun.

Perhaps you remember how she struck
us Americans amidships — a gorgeous thun-
derbolt. The glorious Dietrich legs were
unveiled. Gosh, I still shiver as I hear
her singing her famous little song, "Fall-
eeng in luff again,'" at the bewitched Jan-
nings !

Paramount, enchanted, snapped a con-
tract on her — she came to our shores, a
new gift of beauty and promise from the
old world. Her first American picture,
"Morocco," was a beauty. It was in that
film that a long-legged cowboy, Gary
Cooper by name, first displayed symptoms
of becoming an actor. In fact, the depth
and beauty of the Dietrich whipped the
lanky kid into a trouper ! That began it.
Five long and desperate years ago. And
from that day to this Joseph von Stern-
berg has directed Marlene Dietrich in
every picture she has made, save one, And
that one, "Song of Songs," a Mamoulian
effort, was no bargain even at matinee
prices on a double bill.

That famous association, begun at the
old UFA plant in Germany so long ago,
existed practically unbroken until day he-
fore yesterday. It began in glory ; it ended
in defeat and disaster.

Drawing to its close, the association of
Dietrich and von Sternberg, pressed too
far, came within a faint gasp of plunging
two colorful people into artistic ruin — de-
priving us of two sizable and authentic
talents our films can ill spare.

Von Sternberg, delusions of grandeur
upon him, left off directing movies and be-
came a genius, robed in flapdoodle and
folderol. Nothing mattered but the star;
story and support were almost ignored.
Dietrich, dazed, followed him blindly, com-
pletely sold on his ability to guide he;
artistic life. Ill-advised publicity plague<

her career. The two were headed straight
for professional destruction — and extinc-
tion.

"The Scarlet Empress"— a glittering,
empty mass — reached the limit. "The
Devil is a Woman" passed it. The in-
evitable end had come. And, I repeat,
with gestures, a great thing for both !

What now? It's really very simple.
Joe, get hold of yourself and hang on. Go
sit on a hill and brood for a while. For-
get this Genius rubbish. Get yourself a
job and direct yourself some movies. Re-
member that while you've been fooling
around with over-sized sets and midget
stories, a whole raft of fine directors have
been making some elegant pictures. If you
sit around as a misunderstood creator,
you're stark goofy. The parade will pass
you by, and you won't even see the ele-
phants. And it will be your own dad-
burned fault, Joe.

As for you, Marlene — sit tight and do
your stuff. Paramount won't hire a chump
to direct you. They'll hire the best man
they can find. If you lie about mourning
the Lost Leader, and making a lot of silly
comparisons, your goose will be cooked,
and you won't get a bite of it! A lot of
pretty gals come along every year to knock
over the fans — and you've got to hold
your friends, win back lost ones, and at-
tract new ones. Remember, there are
thousands of youngsters who haven't the
faintest idea just how wonderful you can
be when you try. They've never really
seen you in there punching !

Best of all, liebcken, I think you're
game — and you'll need your gameness.
You proved you could take it at that
clamorous party, with the Free-Loaders
screaming in your ears. Show us you can
take it at the studio. So gliick auf, kid !

landing! Miriam Hop15-'
completed "Becky Sharp,"
for a stay in New York.

for J line 1935

PACE
MISS GLORY!

More about SCREENLAND-
Marion Davies Contest.
Read the Rules!

Continued from page 19

ON PAGES 18 and 19 you have read
about our new contest. Before enter-
ing, however, be sure to read the rules given
below. It is important to study the large
picture on Page 18; it is imperative to
scrutinize carefully all the details. Then
you will realize what an easy, simple, en-
joyable contest this really is, and at the
same time how entertaining it can be to you
and your family and friends.

Marion Davies, star of the motion pic-
ture, "Page Miss Glory," which is just go-
ing into actual production as we go to press,
wishes you fun and progress in this contest.
Our fktionization of "Page Miss Glory,"
which begins on Page 20 of this issue and
which will be continued in the next issue,
will afford you interest and amusement.

The judges of the Marion Davies-
Screenland Composite Girl Contest
will be:

.. Mr. Mervyn LeRoy, famous director of
many Warner Bros, successes, now direct-
ing Miss Davies in "Page Miss Glory."

Mr. Charles Sheldon, noted artist, whose
beautiful portrait of Marion Davies graces
the cover of this issue.

Miss Delight Evans, Editor of Screen-
land Magazine.

Rules of the Contest:

1. The coupon — see Page 19 — properly
filled out, must accompany each entry. Enter
in each space, opposite the feature indicated,
the name of the Hollywood star you select
to supply the features required to create
Hollywood's Composite Girl, "Miss Glory,"
whose beauty would combine the most
beautiful features of the loveliest feminine
stars. Write your name and address plainly
in the space provided. Mail to : Marion
Davies Contest, Screenland Magazine, 45
West 45th St., New York, N. Y.

2. There are no restrictions as to which
stars you may select to supply the features
you choose to make up the Composite Girl.
Only one star, of course, may be named for
any one feature.

3. Prizes will be awarded for the selec-
tions which in the opinion of the judges
would make the most beautiful Composite
Girl.

4. In the event of a tie, duplicate prizes
will be awarded.

5. The July issue of Screenland, on
sale May 25, 1935, will contain complete
details of the second step. Contest will. run
in three issues in all : June, July, and
August, 1935. Contest will close at mid-
night, July 24, 1935.

6. This contest is not open to any per-
sons connected with Screenland Magazine
or their families ; or Warner Brothers Pic-
tures, or their families.

Now go to it ! Look at that list of tempt-
ing prizes on Page 19.

First Prize, beautiful, brand new Auburn
1935 Convertible Salon Phaeton Sedan,
with approximate retail value of $1800.00,
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It prevents the cheek and chin muscles
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Salutes and Snubs

Continued -from page 6

WE SAY HURRAH FOR AUNTIE!

My maiden aunt, who used to nag me
about movies, was persuaded by her pas-
tor and his wife to see "The Little Minis-
ter." Since, I've seen her take some of
her library books and place between them
my copy of Screenland. Three cheers for
whom: Movies, Screenland, or Auntie?

Mary M. Stoudt,
220 E. Penn Ave.,
Robesonia, Pa.

A PLEA FOR GARBO!

I have always been a Garbo fan, but I
was very disappointed in "The Painted
Veil." The direction was devoid of origi-
nality. The photography commonplace, and
Miss Garbo ruined one of her best scenes.
For heaven's sake give this great star a
good picture !

Bette Olsan,
6246 34th N. E.
Seattle, Wash.

TRIBUTE TO A TROUPER

Salutes to Edna May Oliver ! She stands
out in any aggregation of talent — makes
a good picture top notch, a poor one pass-
able ; is individual, but never monotonous ;

hilariously funny, never suggestive. You
feel she is so genuine you would like to
have her for a friend.

Mrs. G. B. Sander,
709 E. 65th St.,
Seattle, Wash.

SCREEN'S TOP TEAM

To me Ronald Colman and Loretta
Young have every other screen team beat
by a couple of miles. In that "Bulldog
Drummond" picture, they were gay and
modern, and in "Clive of India" they re-
minded me of "Lavender and old lace." If
that is not being versatile, I don't know
what is.

Delia Stevens,
319 E. 14th St.,
New York, N. Y.

THERE'S SOMETHING ABOUT A
SOLDIER!

I hope I may soon see another such in-
spiring picture as "Lives of a Bengal
Lancer." A whole acre of orchids to Gary
Cooper, and Franchot Tone, too, for great
acting performances.

Lina Macatee,
3825 Legation St.,
Washington, D. C.

Walking to Health

Continued from page 56

what we'll call a stride when she walks.
When Carole, for instance, steps forward
with her left foot, her right hand comes
forward and her head is held well up.

Look at yourself. When you walk, do
you bend forward? The tall girl who
strides is inclined to do this so as to cover
more ground with her step — at least I sup-
pose that is the general idea. As a rule,
she also brings forward the hand that cor-
responds with the striding foot — right hand
and right foot. That's all wrong. I hope
you don't do it.

This forward bend is accompanied usual-
ly with a forward thrust of the head.
Americans are always in a hurry and they
seem to think that if they push out their
heads they'll get there quicker themselves !
This fault, exaggerated, makes them look,
too often, like so many geese going after
food.

If you watch that chin, you'll never see it
double or triple on you. Hold it up in that
"Every inch a queen" fashion.

High heels will cause the body to pitch
forward and give you that tense look when
you try to hold yourself erect. Try wear-
ing reasonably low heels when you walk,
if you would look well.

"Oh, but I'm always in such a rush that
I have to hurry!" girls tell me, when I try
to criticise their walk.

Haste makes for lack of grace in the
average person. I know that the girl who
goes to work in a store, office, or school is
apt to be up late the night before and so
she tries to take a little extra nap when
she should be popping out of bed. Even if
she has made up her mind that she will do
some walking for the sake of her figure,
she fails to get up five or ten minutes'
earlier so as to have time for the walk to
do good. She dresses in frantic haste, she
grabs a bite of breakfast and swallows it
whole, and she rushes down the street,

breaking into a half run when she sees the
street-car or bus a block away. She might
as well give up if she thinks that walk is
doing her good. She's courting indigestion,
constipation, and nervous breakdown, and
she's ruining her looks. If she must hurry,
she should take a long, easy step. Those
short quick steps won't get her there any
more swiftly.

Usually the only reason for an American
girl taking a walk is because she must get
somewhere. The English girl walks for
pleasure, and so she stirs up her circulation
and has a fine complexion. She is also less
inclined to put on extra weight.

Elissa Landi and Ida Lupino go in for
walking whenever they have time off from
the studio. They have no weight problem.

I notice that a good many small girls
and women think it's cute to take very short
steps, to mince along in what they imagine
is a dainty fashion.

"I'm so little, I'd look dreadful if I took
a twelve inch step," they tell me. Maybe
they would, but a nine or ten inch step
would make them more attractive.

Sylvia Sidney, Llelen Mack, Claudette
Colbert, Miriam Hopkins and Janet Gay-
nor are all small girls, yet each one walks
well, no mincing about them.

Not so long ago, children were taught
to toe out when they walked. You still see
the effects of this poor teaching in the fussy
walker. If you toe out — or even if you toe
in — you can overcome the fault by walking
on a line. Follow the line in the middle of
the sidewalk, or a floor-board in a room, or
a pattern in a carpet ; and don't give up until
you are sure your feet are straight and
that you have perfect balance.

Perfect balance is really the secret of
good walking. Here's an exercise we used
to do in the army to gain balance :

Get a 2 x 4, (a piece of wood with those
measurements, you know), and set it up

Don't take this risk!

for June 19 3 5

about twelve inches from the floor. Stand
facing it. take a pace forward with the
right, then step up with the left onto the
2x4, turn, balancing with your arms, and
stand on toes on the board, then turn again,
lowering arms, and step down with left
foot. Don't lower your heels during this
exercise. As you gain control of your mus-
cles, you can raise the 2x4 until it is 24
inches from the floor.

Talking of short steps, do you remember
that Chinese walk of Una O'Connor's in
"The Barretts of Wimpole Street?" They
got a laugh every time, because you couldn't
see her feet ; she seemed to be steaming
ahead like a boat. A Chinese walks along
with tiny, quick steps that don't leave the
floor. It's amusing, but it isn't graceful
nor becoming to an Occidental.

If you are fat as well as small, you may
be inclined to waddle. Short steps throw
you into a side sway, which is very ugly.
Try taking longer steps and walking with
a hip-swing. You will look pounds lighter.

I've given you in an earlier issue a good
exercise for acquiring that free hip-swing,
but here it is again : Stand beside a chair,
foot-board of a bed or other support, rest
the right hand on it, stand on left leg and
swing right leg forward and backward.
Then let go of the support and continue
swinging the leg, maintaining your balance
as you do so. If you have difficulty in
swinging the left arm forward with the
right leg, try doing so when you do this
exercise.

Naturally, you must start off with per-
fect posture, if you're going to walk as you
should. To get this, stand with your feet
parallel, say about five or six inches apart.
Hold your head up, chin level, shoulders
relaxed, abdomen in, chest up so you can
breathe easily, buttocks in.

Walk with a free swing from the hips,
don't just stump along from the knee. Your
shoulders should hold the same position
they have when you stand still, your arms
should swing easily ; don't give them that
wide swing, or hold them taut against your
sides. The knee should bend easily as you
move, thus avoiding scraping and shuffling.

When I say heel-and-toe, heel-and-toe, I
mean that you naturally set the foot down,
heel first, then gradually but firmly press
it against the floor finishing with a pres-
sure of the weight against the great-toe-
joint. If you do this correctly, you will
have mastered the way to look young when
you walk. It gives you a springy, youthful
step.

Some women, even when they are not
over twenty, walk stiffly. They are usually
thin women, over the average height, but
this is not always so. These "wooden-
walkers" seem not to know what their joints
are for. They are tense, and they think
themselves dignified. If you are a "wooden-
walker," try deep breathing for relaxation ;
take a deep breath whenever you feel stiff,
exhale slowly. Then go in for a course of
knee and hip exercises to limber yourself.

Youth for the knees can't be attained in
one evening. You have to go at it slowly
and keep at it endlessly. Spend five min-
utes a day and gradually increase the time
until you have made it fifteen minutes. You
may break this up into two or three, periods
if you choose.

(A) . Stand erect with arms held easily
at sides. Rise on the balls of the feet,
raising the arms over the head as you rise.
Slowly sink down to squatting position,
lowering arms to sides. Straighten the
knees until you are standing and lower heels
to floor. Repeat.

(B) . Stand erect, hands on hips. Take
a long step forward on the right foot. Bend
both knees so that the left knee touches the
floor. Rise quickly and step forward on
left foot, flexing knees as before. Take a
dozen of long steps with knee bendings.

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(C) . (This is good for ankles also).
Stand erect, arms at sides, toes out. Slowly
bend the knees, raising arms out in front
to balance the body, raising heels off floor.
Hold this position while you count 1-2-3
slowly, then rise and return to starting po-
sition. Repeat.

(D) . Stand on your left foot and swing
right leg obliquely forward. Now bend the
right leg sharply ; bring the right foot
across the left leg in front. Straighten the
right leg with a vigorous kick ; then bend
the knee as before, but this time bring the
right foot up behind the left leg. Repeat.

(E) . Sit in a chair or on a bench, raise
the right knee and rotate lower leg from
knee. Repeat with left knee and leg.

(F) . The Russian dance movement, I
have given you before. Arms folded, you
squat down, resting on left heel, right foot
extended ; then rise on toes and reverse
movement, using right and left leg alter-
nately. Do this first slowly, then quicker,
until you are going as fast as you can go.

Some girls lean over backward when they
walk, making their abdomens unattractively
prominent. You notice this fault also in
older women, who amble to market or to
shop with their abdomens sticking 'way out
before them. When they stop to look over
vegetables, they rest the bag or basket On
their hip as they stand and we grin when we
see them. But they are no funnier than you
young girls who walk along pushing out
your tummies.

Pull that tummy in! If you have this
fault, try for a day to remember it every
time you get up, every time you take a
step. Drag it in. Think : "I won't follow
my stomach!" Come in!

Here's a good exercise to help gain con-
trol of posture muscles : Clasp your hands
above your head as you stand erect, hold-
ing arms as high as you can. Bend body
forward and down, swinging your clasped
hands down and between the feet. Rise

and repeat the entire exercise routine.

Here are some more good all-around ex-
ercises that will enable you to make muscles
obey you : Stand several paces away from
a chair. Bend over and place both palms
of your hands on the chair seat, transfer
weight to your hands and toes and hold
your body straight. Of course, the chair
must be braced so it will not move. Raise
and lower each leg backward ten times.

Stand erect, heels together and hands on
hips. Raise the right knee out sidewise,
sliding the right foot up the left leg until
it comes to rest against the side of the left
knee. Now thrust the right leg obliquely
backward, holding the leg straight, touch-
ing the floor with the toe. Snap back to
position. Repeat movement with left leg.
Lie face down across a bench and repeat
movements with both legs.

If you are threatened with round shoul-
ders, as so many girls are who walk with
heads protruding forward, you can cure that
slouch : Raise your arms to shoulder height
with elbows bent. Clasp fingers of both
hands in firm grip. Keep your head erect
and chin up, your shoulders back. Then
try to pull the hands apart, moving your
arms from left to right. If you do this
exercise correctly, you will feel a strong
pull on the muscles between your shoulder-
blades.

An exercise that is excellent for gaining
a slim waist is this one : Stand erect with
feet slightly apart. Raise arms out to sides,
bend over from waist and touch left toe
with right hand, while keeping left hand
outstretched behind. Rise and repeat with
left hand to right toe. Stretch your arm
as far back as possible.

Relax after your exercise period and
shower, if you can. Remember that hustle
doesn't make for grace. Look at a slow-
motion picture. It's the slowness that looks
so graceful, isn't it? Choppy, quick move-
ments are always unlovely. Don't jerk!

James Davies Answers Your Questions

Miss R. A. Y ., Long Island, N. Y.:
Your correct weight should be around 120
lbs. Your hips and thighs are too large
and should be reduced. I'd advise that you
concentrate on exercise rather than on diet.
The "upside-down sit-ups" given in the
January issue of Screenland would be
good for you. Here is an exercise excel-
lent for overweight hips : Tie a rope to
something steady, heavy banisters, steel
fence, etc. Lie on floor or grass with head
toward rope, stretch arms back and grasp
it with both hands, high enough so you can
lift your shoulders from the floor with its
aid. Raise shoulders and feet from floor
and roll on hips, keeping steady with the
aid of the rope. First roll three to left,
then three to right. This is not easy, but
it's worth while.

Alicia G., Philadelphia, Pennsylvania:
No, you are decidedly not too old at 22 to
improve your figure. Your weight is all
right, though not distributed quite as I'd
like it to be. Try paying strict attention
to the way you hold yourself as you go
up and down those stairs, holding shoulders
well back. Also take long breaths on that
walk home. Take off a little of the hips
and the thighs won't seem so small. Also
do ankle exercises. Try the exercise given
above.

Eula S., Topeka, Kansas: You do not
give your measurements, but you are some-
what under-weight. Yes, try hip-reduction
exercises. Massage your too-thin neck and
chest with cocoa butter. Whistling and
singing, with their attendant deep breath-
ing exercises, will help develop your throat
and chest.

6". C, Seneca, S. C: You are not
over-weight. In fact, you could do with
two or three extra pounds. If you worry
over your hips, try the above exercise, and
then eat cereal and cream for breakfast.

Jean B.: For round shoulders: Lie
face down on the floor, tuck your feet
under chair rungs, slowly raise head and
shoulders, lower them and repeat six times.
Don't do this too strenuously at first.

Try the general reduction exercises in
this article. Also the exercise given above.

T. D., of Newark: Have you given me
your correct height ? 4'8" seems very tiny
for a girl of 17 who weighs 117. Correct
posture will make your bust look trimmer.
Do not massage a heavy bust, but use cold
showers after exercise, also ice-packs
briefly applied. Develop bust-muscles
which support bust by arm exercises. Try
swinging a rod held in both hands forward,
upward and back ever the head.

Mrs. B. IV., Pittsfield, III.: If you feel
badly run down with your loss of weight,
by all means see your doctor. Expect an
article soon on weight-building. You
might do the hip-roll.

Margaret E. J. C, West Virginia: You
are more than 20 lbs over-weight. If you
are serious about reducing, try cutting
down on sweets and taking plenty of fruit
and fruit juices. Go in seriously for ex-
ercise routine morning and evening. Try
a different routine each week, but make
yourself do it twice a day, and always in-
clude a few hip and abdomen exercises.

fo r ] n n e 19 3 5

Radio Parade

Continued from page 57

my own sounds so theatrical" . . . refuses to
take herself seriously ... is in deadly earnest
about making a career as an actress . . .
never took a singing lesson in her life
. . . has impersonated many leading screen
actresses in the former "45 Minutes in
Hollywood" series, but steadfastly refuses
to make screen tests, "because I have a
hunch it would be better for me to wait"
. . . has been in radio for five years, and
has been stage-struck since as long as
she can remember.

Peg, who was christened Marguerita
but had that abbreviated by her school
chums, was chosen for those Saturday
night programs by the highest-priced jury
that ever sat on the destiny of an aspirant
to radio fame — a jury consisting as it
really did of Lawrence Tibbett, Paul
Whiteman, Gladys Svvarthout, Jessica
Dragonette and Frank Black.

These gods and goddesses of NBC de-
cided, after listening to recordings of the
Radio City Party series, which brought
to the microphone all of the younger NBC
artists, that Peg La Centra and Paul Law-
rence, baritone, were the two Stars of
Tomorrow to play regularly on the new
Radio City Party programs.

Stopping by to congratulate the gal,
whose blonde hair and greenish-blue eyes
would make most people never guess that
her ancestry is one hundred per cent
Italian, "and very proud of it," she adds,
your correspondent expected that the La
Centra might gush a bit. Peg, though,
who fizzes all the time, gushes never.

"I didn't even know there was any con-
test about it," she said, "until it was too
late to back out. I didn't want to be in
any contest. However, it turned out nicely
enough. It took me three years to convince
NBC that I could do what I want to do
in radio, and now that I'm under contract
and my interests are being so well taken
care of by NBC I'm not getting too ex-
cited about what I should do outside of
the work I'm actually engaged for."

In other words little Miss La Centra is
letting the business angles go and is con-
centrating on the phases of her work in
which she is most interested — the actual
microphone acting and singing called for
by the show itself. Thus she again plays a

fn the dramatic mood, we find
Peg La Centra, above, one of
radio's "Stars of Tomorrow."

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hunch, and wisely it appears at this time.

Being a featured member of the current
Radio City Party series, means that Peg
La Centra has featured spots on three
programs every week. The other two are
the Friday evening "Circus" shows star-
ring Joe Cook, and the Sunday afternoon
commercial with Ray Hetherton and Harry
Reser. Meantime she is auditioning some
dramatic sketches which may reach the
airwaves any day now.

Despite all this success in radio, Peg La
Centra probably would chuck it all if the
right opportunity to act on the stage came
along. Playing stock, and understudying
a part in "Music In the Air" and at the
same time taking her place in the chorus
line, couldn't dampen her enthusiasm for
the theatre. If anything this actual con-
tact with the stage has increased her desire
to be an actress.

Peg can't trace her love of the theatre
to any immediate inheritance. The closest
family connection with the theatre she
knows of was no closer to the stage than
an uncle or somebody who was a prominent
concert violinist in Europe,

Though she was picked as a Star of
Tomorrow because of her singing, the
vocal work means little to La Centra com-
pared to her interest in acting. The urge
for the latter was so strong that she
checked out of a fashionable Boston finish-
ing school — even before it could finish her
— when she had a chance to be a radio
actress after an audition held by a local
Boston station at a tea dance Peg and
her school mates were attending.

The blues singing came later, as an ad-
junct to taking her place on whatever pro-
gram needed her. But not too late to land
her a rating as a Star of Tomorrow.

Best Bets! — Fred MacMurray

Continued from page 30

the California Collegians, a comedy band,
and toured east to New York. A few
months later, he joined the show, "Three's
A Crowd," and during the run on Broad-
way and on the road, he filled just about
every part in the show.

"One night I'd play the butler," he re-
called, "and the next show I'd be the hus-
band, or the lover, or the comedy sailor.
That was in addition to doing my job with
the orchestra. I got a lot of experience
in a mighty short time with that troupe."

After "Three's A Crowd" he returned
to California to work in vaudeville, later
going east for more vaudeville and night
club work. He finally snagged a good
role in "Roberta" and his success in this
New York stage hit brought him a contract
with Paramount.

He went immediately to Hollywood, but
after landing in the film capital he spent
the first six months trying out the local
golf courses and collecting his pay check
every Wednesday afternoon. He did not
turn a working finger. Incidentally, he
does not pretend to be a world-beater on
the golf course — his admitted best score to
date is an 85 — but he is still trying.

Finally Paramount loaned its young new-
comer to RKO where he played a small
part in the May Robson picture, "Grand
Old Girl." Back on his own lot again he
got the biggest break of his short career,
the lead opposite Claudette Colbert in "The
Gilded Lily."

Can you imagine this youngster, too
bashful to take part in school plays and
still self-conscious despite several years of
orchestra work, playing opposite the Acad-
emy Award winner in his first big picture?

Fred admits that he was plenty shaky
for the first few days. A "friend" kindly
informed him the studio officials weren't
satisfied with his work and that didn't
help things, but Miss Colbert took him off
to one side after a particularly trying day
and gave him a real heart-to-heart talk
that bucked him up.

MacMurray will not say just what
Claudette's words of advice were, but they
must have helped. There was no more
talk about taking him out of the part and,
if you have seen "The Gilded Lily," you
must admit she did a nice job of advising.

When the picture was completed, the
powers that be were so impressed they
lost no time in notifying their brand-new
leading man that he was still on the pay-
roll, and likely to remain there for some
time to come.

In fact, Fred is signed to one of those

seven-year contracts and unless all signs
fail, he will spend all seven of them under
the Paramount banner. He likes the idea
of living here so well he has settled down
in a little home on the outskirts of Holly-
wood with his mother, his grandmother,
an aunt and an uncle. I would say he is
pretty well chaperoned.

After "The Gilded Lily" MacMurray
played the part of a state trouper in "Car
99." Right now he's loafing again but it
won't be for long. They say he is down

Neighborly visit! Anne Shirley
calls on Randolph Scott, who is
working on an adjoining set.

for a good role in a federal-agent picture
Paramount is planning and, for my part,
I hope they keep him busy. The screen
can use a few youngsters of the Fred
MacMurray type.

It's a long jump from playing a saxo-
phone in an orchestra pit to playing the
leading role opposite an internationally
famous star in a feature production, but
MacMurray made it gracefully enough.
Fred claims screen work is tougher than a
stage job, but he likes it just the same.
Right now he is ready and eager for another
role, not afraid to admit his newness and
perfectly willing to learn. Let's hope he
keeps that attitude — it strikes an inter-
viewer like a breath of cool air from the
ocean after a day on the desert.

for June 1935

Anne Shirley

Continued from page 31

the youthful star, "but I'm sure he doesn't
believe me. It doesn't sound reasonable,
does it ? Because I'm almost as big as Miss
Dee now. I was lucky," she pointed out,
"for up until I was about fourteen, I looked
like a little girl of ten or eleven. Then,
just all of a sudden, I grew up until I
looked about fifteen or sixteen. I've never
played real grown-up roles and don't care
to. I'm perfectly willing to play just what
I am, a girl of sixteen or seventeen.

"Being a star — if I am one — doesn't
change anything. My friends like me for
what I am. Not because I'm Dawn O'Day
or Anne Shirley. I still spend a lot of time
reading, or visiting at the homes of friends,
or talking with Mary Blackford. You
know she's been in the hospital for months.
I like to spend as much time as I can with
her for it must be awfully lonesome in that
room, all alone."

Mary Blackford is the young actress who
played with Will Rogers in "Ah, Wilder-
ness" on the Hollywood stage, and was just
getting a real start in pictures when an
automobile crash halted her career. She
has been confined to her hospital bed for
months.

"It's true," the little Shirley girl re-
sumed, "that I make very little money, but
I can't object seriously. When I signed
a long-term contract with RKO I was just
Dawn O'Day, out of work, and mighty glad
to get a contract of any kind.

"Of course I'd like to have more money.
Enough to make sure mother will want for
nothing as long as she lives, and enough
so that I could have a good time without
worrying about contracts and motion pic-
tures.

"You know, I've been in pictures for
fourteen years. That's a long time. By
the time I'm twenty, I'll have worked sev-
enteen years before the camera. Long
enough, don't you think?"

"No," in answer to my immediate ques-
tions, "I'm not planning to quit at twenty.
I won't have enough money by then ; but
when I do start earning a large salary, I'm
going to save most of it and buy an annu —
annui- — how do you say it? — an annuity."

Despite her work in pictures, Anne has
never fallen behind in her schooling. For
years she attended public schools in Holly-
wood, including the Le Conte Junior High
School. After she got her contract, she
went to a school for professional children
in Hollywood because it was easier to ar-
range her school hours so they did not con-
flict with her film work.

Now, of course, as a full-fledged star
still of school age, RKO provides a private
tutor on the set during the making of each
picture. She's in her last year of high
school, which is fair enough for her age.

Anne is a puzzling little girl, as full of
contradictions as a pomegranate is of seeds.
One minute she's talking like a young busi-
ness woman of 25 or so, and the next you'd
swear your kid cousin was home from
boarding school.

A life-time spent in studios, far from
spoiling her, has given Anne Shirley poise
and self-confidence ; but has left her the
courage, the enthusiasm and the dreams of
youth.

"Marriage?" she repeated my final ques-
tion as we left the office in the publicity
department at the studio where this inter-
view was staged, "I'm not even thinking
about it. To me," and Anne turned sud-
denly serious, "marriage will mean the end
of my screen work. I don't think I could
ever be a good wife and a good actress at
the same time."

OH, MRS. LAKE, ITS SILLY TO CRY.
BUT ALL THE OTHER GIRLS HAVE
THEIR DATES AND THEIR

BOY FRIENDS AND I

HAVEN'T ANY !

POOR CH ILD, PERHAPS I KNOW
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for June 19 3 5

and smooth in a few finger-tips of your
softening cream.

Funny thing about "Brown Magic"
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Really — these new pins are wonders. It
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amor

Girl

Continued from page 28

apparently having got the point. "I'm com-
ing."

"And Stella — listen," cried Betty into the
phone. "Wear my fox scarf — and my new
chiffon stockings — I've only had them on
once — they're in the bottom drawer of the
dresser — "

But Stella had hung up. She was already
crossing the street to Harrison's Notion
Shop whence, after a short sharp struggle
with her mother over the taxi fare, she
emerged triumphant, sans fox or chiffon
stockings. Five minutes later she was
speeding on her way to her business ap-
pointment with Mr. Morrison.

STELLA HARRISON had just turned
sixteen. She was a slender child, fair-
haired and delicate-skinned, with the same
ice-gray eyes as her red-headed sister — the
only difference being that her large, sensi-
tive black pupils had a trick of dilating
and contracting", which somethimes created
the illusion of depth in her glance.

The taxi halted with a jerk and Stella
stepped out, her hands moist — partly with
nervousness, partly with having been clutched
so tight about the taxi money. Over the
old voile dress in which she had hurried
off she wore a coat she had bought at a
sale the year before — six seventy-five — to
whose lapel she had pinned a limp arti-
ficial flower discarded by Betty.

Betty was waiting for her on the side-
walk. "You're a sight," she commented
briefly, while her sister's trembling fingers
counted two dollars and thirty cents — a ver-
itable fortune — into the chauffeur's hand.
Then she led the way through the front
office, past a haughty information clerk
whom she appeased with a pass for Stella
and herself, and along a dark hall lined
by many doors to the office of Mr. Morri-
son.

"Here you are," said Morrison, and
stared at Stella for the space of perhaps
three minutes. She met his gaze as long-
as she could, then dropped her eyes to her

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feet. Her legs were good — she knew that
— but her feet were a little too large because
she was still growing. She knew that too,
so she stood with her knee turned in a little,
which threw the tender, delicate curve of
her left hip into a line that no Delara could
have aped.

"Hm," said Morrison dreamily. "So this
is your sister. What's her name? Stella?"
He addressed himself exclusively to Betty,
while Stella, on the brink of tears, kept
up her courage by repeating over and over
to herself : "Ten dollars a day, ten dollars
a day, ten dollars a day — "

"Can you use her, Mr. Morrison?" asked
Betty fearfully.

"Can't tell yet," he muttered, a frown be-
tween his eyes.

"Do you like her?" At least he hadn't
turned her down, thought Betty, growing
bolder and therefore more personal. Stella
raised her gold-fringed eyes and gazed
hopefully at the old man.

He savored that glance, appraising its
value as expert and connoisseur. "Hm," he
said again, picking up the phone. "She's
rather pretty." With a deep sigh of which
he was completely unaware, he called Mr.
Stewart. Mr. Stewart was shooting and
couldn't be disturbed. He called Mr. Dris-
coll and a certain Mr. Mecklenburg and
asked them to come at once to his office.
The artificial flower on Stella's coat was
quivering faintly, as a result of the sup-
pressed trembling of her whole body. There
was nothing she could do about it. She bit
her lips and clenched her hands, but that
only made it worse. Morrison, gifted with
the most sensitive of feelers, drank in these
subtle nuances as well.

"Like to smoke?" he asked.

Stella shook her head. Her voice had ex-
pired somewhere far down in her throat.

"Take your coat off," he ordered. "Hat,
too." And Stella obeyed, exposing her old
voile dress, her thin child's neck. Then
she stood still, not venturing to look up" at
the two gentlemen who had entered and
were eyeing her like an object exhibited for
sale.

"Well," remarked Morrison, "there's
your aroma." He was outwardly calm, but
triumph soared in his voice. He'd made
great discoveries in the past, but he wasn't
through. His nose was as good as it had
ever been.

"Not bad," said Driscoll.

"Something different for a change, any-
way," murmured Mecklenburg.

With the soft, lithe, resilient movement
of a young cat, Stella shifted her weight
from the right hip to the left. The three

men took it in. Morrison felt himself en-
gulfed in a sudden wave of warmth, of hap-
piness, of affection for this sixteen-year-
old colt who — when she was a star in the
not too distant future — would have him to
thank for her career.

"Can she walk?" asked Mecklenburg
skeptically, as though she were a marion-
ette.

Morrison touched Stella's shoulder with
tobacco-stained fingers. "Walk, darling,"
he said gently. "Move around a little. Don't
be frightened. We're all your friends here."

And Stella, docile and anxious to please,
walked. She knew this was a crucial mo-
ment and she tried to walk as she'd seen
the stars walk in the movies — Delara and
Maya Gay and Leslie Stephens — but she
only succeeded in walking like a little girl
from Alhambra, her knees bent slightly for-
ward, her glance fluttering upward because
of the shabby shoes that covered her over-
large adolescent feet.

Eighteen-year-old Betty's expert glance
took note of the feet.

"She's not fixed up, you know, Mr. Dris-
coll. No powder even. Wait till you see
her when she's dressed — "

"Jolie!" murmured Mecklenburg discreet-
ly from behind the desk. " Charmante !"

But Betty had managed to pick up as
much French about the studio as had Mr.
Mecklenburg.

"Isn't she?" she interposed brightly.
"What are you going to use her for, Mr.
Morrison ?"

But Morrison was at the phone again.
Morrison was calling Mr. Stewart again,
and as he waited for an answer his face
had the delighted expectancy of a child's.

"I'm just curious to hear what Bill's go-
ing to say," he smiled. "Go find something,
he tells me — go find something. Never
thought the old man really would go out
and — hello — Bill? Got time to take a look
at something? Sure — surprise package —
Merry Christmas. You said it — innocent
apple-blossoms and aroma. No time today?
Why don't you just take a look and see if
it's worth a test? O.K. I'll bring her
down. Ten minutes. Right ! 'By."

Betty had caught the tremendous, the
stupefying word, "test." So had Stella.
They exchanged startled, incredulous
glances. Test ! This wasn't extra work !
This was a miracle, a glimpse of paradise,
a part, a career — the beginning of the most
glorious dream ever dreamed in their wild-
est moments by all the Bettys and Stellas
in the world. . . .

{To Be Continued)

Y G

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for June 1935

Inside the Stars'
Homes

Continued from page 10

sausages, lamb chops, liver, pork tender-
loin and sweetbreads. These will be
served from my largest silver tray — some
sweet angel gave me a set of silver trays
when we were married and I adore using
them ! The silver bread tray will have
rye bread, pumpernickle, crumpets, and
rolls. Another will have cheeses : camem-
bert, gorgonzola, stilton and roquefort.
There will be covered dishes of hot en-
chiladas, potatoes au gratin, string beans
and beets.

"The hors d' oeuvres will be my chopped
chicken livers, caviar, cheese, corn crisps,
and my favorite hot one, mushrooms
stuffed with sausage meat.

"Sometimes I serve little rounds of toast
with chutney and American cheese on
them, baked until the cheese melts, but
that's not on the menu tonight.

"The green salad is my own special rec-
ipe and I always fix it myself," continued
Sally, permitting me to peep into the kitch-
en where the deed had recently been done.
"I use a big wooden bowl and have ro-
maine lettuce lining the bowl ; then inside,
chopped chicory, endive, green peppers and
lettuce and diced tomatoes, with this very
special dressing :

y2 cup chili sauce

J/2 cup sugar

y2 cup cider vinegar

y2 cup imported olive oil

Pepper, salt, cayenne pepper

1 small grated onion

I put in two cloves of garlic whole and
pull them out after I've shaken the whole
thing up in a mason jar."

Another of Sally's salads is a jellied
salmon and cucumber, which is made like
this :

Soak Y± tablespoon gelatine in 2 table-
spoons cold water and stir into this two
cans of flaked salmon. Make the following
boiled dressing and stir into the above, then
pour into loaf tin to set :

1 tablespoon sugar
y2 tablespoon salt

2 tablespoons flour

1 teaspoon dry mustard
% cupful milk

2 egg yolks

cup vinegar
Dash of paprika.

White and red wines are served with
Sally's Sunday night suppers. Her des-
sert that night was peppermint ice cream
with chocolate sauce and a Mocha cake.
This is Sally's recipe for Mocha cake :
Beat y2 cup butter to a cream, beat into
it 1 cup sugar ; when smooth add y2 cup
strong black coffee and 2 cups flour sifted
with 2y2 level teaspoons baking powder ;
beat 3 minutes, add 1 teaspoon vanilla ex-
tract and stiffly beaten whites 4 eggs.
Pour into 2 buttered and floured layer
cake tins and bake in moderate oven.

MOCHA FROSTING:
Beat y2 cup sweet unsalted butter to
cream, add 2y2 cups sifted confectioners'
sugar and 2 teaspoons vanilla extract ; beat
well, add 4 tablespoons cold, strong black
coffee and work until smooth.

"I always serve two kinds of meat at
my suppers," said Sally. "Chicken and
ham, or roast beef and turkey, or some
such combination. One of my favorite
suppers is my Southern one of fried 1
chicken and baked ham, with hot biscuits 1
or corn bread.

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"When we have regular dinners, I find
my men guests respond best to roast beef
and Yorkshire pudding ; but all the women
like my chopped chicken livers with special
sauce. That's my very own special
secret !"

The dining-room of the apartment opens
from the living-room and continues its
white walls and dull blue carpet. Here
the table was s»t for the buffet supper, lace
table-cloth, silver candlelabra and covered
dishes.

"See, this is the silver set Harry Joe
gave me for my birthday !" cried Sally,
leading me to the buffet at the side, "I use
the champagne cups for flowers — don't you
adore peach blossoms set in silver ? I'm
simply mad about silver ! Especially old
silver. Look, I want you to see this Geor-
gian silver coffee pot my agent found for
me in England — isn't it precious ? And
the creamer and sugar he found — they don't
match exactly because they're not quite so
old, but see the inscription !"

"To Ellen Sheehan from her sincere
friends M. and E. T. " read the tiny let-
ters on the bottom of the sugar bowl.

"Makes you wonder what happened to
Ellen and her sincere friends," mused
Sally, putting them away again.

She inspected the good things in the cov-
ered dishes and we sampled one or two.

"I suppose most Californians know about
enchiladas," said Sally, "but perhaps some
of the girls in other states don't. This is
the way I do it :

"Make a dozen very thin pancakes with
white cornmeal, 6 inches across. Now
make the Mexican sauce, Chili Colorado,
which is used in a number of Mexican
dishes. Remove the seeds and strings from
% pound of dry chili peppers and wash
well in plenty of water ; cover with cold
water and boil ten minutes ; drain and rub
through a colander, add from time to time
2 cups hot water,. pouring through the pep-,
per until the pulp is the consistency of
cream. Heat 2 tablespoons shortening in
a pan and fry in it a clove of garlic ; when

the garlic is light brown, remove it and
stir in the chili pulp, a teaspoon of grated
sweet chocolate, a teaspoon of sugar, tea-
spoon salt and a tablespoon vinegar. Let
simmer five minutes and it will be ready
for use.

"Have ready a cup of ripe olives chopped
fine, 3 hard-boiled eggs chopped, % cup
finely sliced young onions, and % cup of
grated hard Mexican or Parmesan cheese.
Heat y2 cup of shortening in a shallow
pan; slip into the hot shortening one of
the pancakes and heat through, remove
heated pancake and pass into hot chili, then
place on hot platter and sprinkle with
chopped eggs, olives, cheese and onions,
pour spoonful of sauce on and roll up.
Place rolled tortillas in a shallow baking
pan, sprinkle with rest of chopped ingre-
dients and sauce and heat in a quick oven."

Young Master Brown made an entrance
from the porch that opens off the sun-
room, a bouncing lad of five and a half
months, very proud of his two teeth which
he exhibited without coaxing.

"This young fellow is starving," an-
nounced Cookie, his nurse. "I'd better
rush his meal to him before he bites some-
body with those teeth."

Sally and I escorted the heir to his own
room, after he had given the covered dishes
a suspicious inspection and been persuaded
they contained no mush-and-milk. His
room was done in palest pink. Two rows
of pictures of Sally's friends holding their
own small offspring in their arms marched
across the wall. On holidays and birth-
days, little Harry Joe sends the originals
of these infant pictures jolly telegrams of
congratulations or good wishes.

However, at the moment he wasn't feel-
ing jolly, he was hungry! He broadcast
demands for food until it arrived, which
showed, Sally said, that he was going to
grow up to be an executive like his daddy.

"I hear his daddy coming in now," she
added. "It must be nearly time for the
party. How I wish all Screenland's
readers could be our guests in person !"

Stars' Temperament? Smoke Screen!

Says King Vidor

Continued from page 51

TORMENTS

quickly pacified.
For efficient help

fc^use concentrated ^{jmljftlfM

POSLAlVl

belittle actors and actresses when I say that
most of them suffer from an inferiority
complex, but they do. The strutting and
pomposity that is usually connected with
the actor is not due, as most people think,
to a superiority complex. Quite the con-
trary, they take that means of bolstering
themselves up when within their hearts they
know they have not got what the general
public thinks they have.

"After all, you know, most of us are still
children at heart, and often in mind. You
know how a kid shouts and brags and car-
ries on when he is afraid, yet does not want
anyone to know it. Grown-ups are just the
same. Actors, especially, for actors have to
be emotionally and nervously keyed up far
beyond the point of the ordinary man in
order to imagine they are the people they
are representing in their roles.

"Imagine, if you can, an actor who in
reality is afraid of physical combat and
hardship playing the role of a rough, tough
fellow who goes about slapping everybody
down. Don't you imagine that actor must
be shaking away inside? I knozv he is!
Every time he smacks the other man he
takes delight in doing it, but is worrying
about the blows that are coming his way.
So, frequently that actor will start to storm
and bluster about the story or the lines or
the direction — anything, in order to bolster

up courage and make other people believe
that in reality he is the rough fellow he is
trying to portray. Some people call such a
display 'temperament.' I call it a bluff to
fool the other fellow.

"I remember some years ago making a
picture with a very well-known female star.
We were out on location. It was a ter-
rifically hot day. The make-up melted off
the players' faces time and again. The
star took a look at her face in a mirror
and saw it did not look quite as well as
she thought it should. So she took time out
for repairs. Then back to work. The
heat kept on and at last the star couldn't
seem to do her work as I wanted it. We
shot the same scene over and over, and
she was worse each time. Suddenly she
went into a tirade about the story. It was
all wrong. The writer was crazy. I was
worse. How could an intelligent person do
the things written in the story? Then she
ended it all by fainting. Some of the boys
carried her into a nearby shed and laid her
on the ground. There was no floor. The
star suddenly began to sniff. She sniffed
again and then rose right out of that faint
and started calling everybody names. You
see, it was an old, uncleaned pig-pen in
which we laid her. Needless to say she
went right home. The next day she had
apparently learned her part and we patched

for June 1933

it all up and she had no temperament.
There was no need for it."

Vidor, who is ordinarily a very quiet
chap, burst into long and almost hysterical
laughter as he sat back in his chair and re-
called this episode. He must have been
thinking of other stars who have been called
temperamental, and whom he has directed.

"What about Anna Sten?" I asked him.
"She has been put down as being the last
word in temperament."

"No," he replied, "Anna isn't tempera-
mental any more than the others. When I
started directing 'The Wedding Night' with
her I was watching for the temperament.
She first insisted upon having big flats
placed around the set so no one could see
her work. That wasn't temperament. I
recognized at once that she, like myself and
countless others, suffers from an inferiority
complex. She is afraid she will not be able
to do a scene right, and doesn't want anyone
to see her fail. When she couldn't master

Irene Dunne and Walter Abel
acting an emotional scene for
the radio version of "Secrets."

a line she would declare the writer was
wrong, the line was wrong. But I would
tell her to go ahead with it. When she saw
I meant it there was no further protest.

"You see, a player tries to blame every-
body but himself or herself for what he or
she cannot do. They will not admit they
cannot do it. Instead, they will rant at
the fellow who is not present. Most of
them like to blame the author. If you are
not cognizant of their difficulty you may be
fooled and listen to what they have to say.
It is only a storm created to make you for-
get their weakness, and to cover up their
own inferiority complex.

"The way to handle these people is to
first know what it is all about. Then do
not listen to them. Be firm, even yell
sometimes if you have to. But do not pay
any attention to their protests that everyone
is wrong but them. Just insist they do the
action as told or speak the line as written.
If they grow too loud, tell them they have
the privilege of quitting if they do not like
the way the play is written. They will not
quit. They will realize that they must try
to do the thing they actually feel, because
of inferiority complex, they cannot do."

Vidor is a director of such high standing
that his observations and comments must
be more than seriously considered. Vidor
is one of the few real geniuses in Holly-
wood's directorial ranks. That he towers
among the greatest men of his profession
was proven recently when the League of
Nations awarded him a gold medal for the

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making of "Our Daily Bread," which the
League proclaimed as the finest film made
during 1934.

Vidor is a deep student of human nature.
He knows the souls of men and women.
He has proven it by his work in the mak-
ing of such films as "The Big Parade,"
"The Crowd," "The Champ," "Strangers
Return," "Our Daily Bread" and now the
Samuel Goldwyn picture, "The Wedding
Night," with Anna Sten. They are all pic-
tures that reach out and take hold of the
heart of mankind. There is an understand-
ing there that only a few men can give.

The film industry almost missed this man
entirely, for he started out with the idea
of being a fiction writer. When he finished
school at Tome Institute in Maryland,
he returned to his home in Galves-
ton, Texas, and started to write short
stories. After several mailmen had re-
ceived broken arches carrying his stories
back to him he decided that maybe he
would make a better scenario writer. He
wrote and shipped 51 scenarios. Exactly
51 were returned to him. He decided to
try just one more. It was bought by a
small film company in Texas which signed
him to direct the picture. This was in
1918. He made the picture and was
amazed when no big company offered him
a job. He hadn't seen the balance sheets
of the company he had made the film for.

Finally he went to New York and
worked as an extra in pictures and did
what odd jobs he could get in the studios.
When he thought he was ready for big
time he came to California and to his
amazement was given a job as a director
by the General Film Company.

Vidor knew his shortcomings. His own
inferiority complex was working, so he
decided to wipe it out. He quit directing
and took a job as assistant cutter; then
went through the various other depart-
ments. When ,he knew the work of these
departments he went back to directing. He
knew what he wanted and what he could
reasonably ask for. He immediately be-
came a success, and his success has grown
through the years, even though at times it
seemed as though he could do nothing
finer. Yet he always comes up with a bet-
ter film. He is a veteran among the old-
timers, yet he is still in his thirties. Yes,
this quiet-spoken man may rightly be called
a genius of the camera, a master of psy-
chology, a student of human emotions.
And — I almost forgot — Vidor did finally
become a writer of salable fiction. He
sells it now to the magazines that once
mailed it back!

The Long Arm of
Coincidence

Continued from page 55

to the front office at Warner Brothers
studio, and Cagney was leaving it. They
met — both film stars, now, and on the same
lot — and they took up their old friendship
where they had left off. And it does seem
strangely coincidental that two such tough-
looking mugs should both have been chorus
boys in the same show.

Clark Gable, just a poor young man
working in a strange town, happened to
decide one evening to dine in a restaurant
he was not in the habit of frequenting, and,
as luck would have it, he could find no un-
occupied table. Making the best of things,
he sat down with two men who turned out
to be actors appearing in a stock company.
Gable at the time was studying to be a
doctor. But the three men began to talk
over their dinner, and the actors asked him

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HELP Wanted

for June 19 3 5

Gardenia Coiffure! Inspired by
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io advantage by Gail Patrick.

if he would like to see a performance that
night from the wings. The visit was fatal.
An incipient screen star was stricken with
stage fever, and the medical profession lost
a darn good doctor, just because Gable hap-
pened to dine in a strange restaurant.

I had good hunting at Universal. Three
coincidences fell right into my lap. Boris
Karloff, one of seven brothers, couldn't
stand the musty smell of old books, (he
was in civil service), and so he got himself
a job as day laborer at $2.50 a day. One
morning he was walking along the street
and he happened to glance down and see
a theatrical paper lying on the sidewalk.
He picked it up and read an ad that in-
trigued him. However, the job was one
hundred miles away, and he had just four
dollars in his pocket. But something told
him to go to the railway station anyway,
and there — whom did he see but a brother
of his whom he hadn't laid eyes on for
ten years ! The brother loaned him $50
to get to the job.

A coincidence like that is very cheering.
And so is the one that started Paul Lukas
to Hollywood. Lukas taught school, lived
in a garret, "starved," and occasionally
broke the monotony by playing bits in the
National Theatre in Budapest.

One night an impresario asked him to
go to Vienna and join his company. Lukas
hesitated. The impresario insisted. Final-
ly, after days of deliberation, Lukas went,
and on the opening night Adolph Zukor
and Walter Wanger made their one and
only visit to this show, (this was in 1926),
and Lukas was signed to go to Hollywood.

Because it happened that Irene Dunne's
father died when the family finances had
hit a new low, she is a film star now in-
stead of a concert singer. Her father was
a builder and operator of steam boats on
the Ohio River, and it is her coincidence
that she made her biggest hit in "Show
Boat."

I bagged one reverse coincidence : If
Pat O'Brien were not married today, it
would be because years ago he was un-
lucky enough to send a letter, designed
to end a lovers' quarrel, on an airplane
that crashed and burned. In his letter
he asked the girl to forgive him and to
write if she wanted to see him again. For
six, long, weary, unhappy months Pat
waited in vain for her answer, until finally
his letter, with the envelope burned almost
completely away, came back to him, marked
"Burned in plane crash." The address of
Mrs. Pat-to-be was obliterated, but his re-
turn address had only been singed. He
made a record sprint for a telephone. The
girl had been waiting six months for him
to call, just because that certain plane
crashed.

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SCREENLAND

Laddie
RKO-Radio

Gene Stratton-Porter's novel about a
heart-winning Indiana rural family, and as
fine an example as you'd want of the senti-
mental style of screen pastime. John Beal
is the young farmer who loves the daugh-
ter of the snobbish Englishman who buys
an adjoining farm. It all comes out hap-
pily. Gloria Stuart is the girl, but the
whole show is stolen by Virginia Weidler
as Little Sister. You'll love every bit of it.

Living on
Velvet
Warners

Results here are so unfortunate that you
become a second-guesser and are sure the
story never should have been filmed in the
first place. It's particularly unfortunate as
the film brings Kay Francis back after a
too-long vacation only to disappoint the
many admirers of a tine actress and pleas-
ing personality. It's about a girl who
marries a man to reform him. George Brent
is the hero, and Warren William his pal.

Visual glitter of richly atmospheric
scenes at the French Riviera is about all
you should expect from this, though it has
Tullio Carminati and Lilian Harvey as the
romantic pair who meet as strangers in
Monte Carlo. One glorious, love-at-first-
sight, .evening, and they are parted — and
there the story goes too. It's not bad, mind
you, only the good beginning makes the
weak ending seem very stuffy and flat.

Traveling
Saleslady
Warners

Hugh Herbert literally walks off with
the honors in this light and fluffy comedy.
He kept a preview audience laughing from
start to finish. Joan Blondell plays the
daughter of Grant Mitchell, toothpaste
king, who won't give her a job, so she
takes Herbert, inventor of a "cocktail-
flavored" toothpaste, to a rival company
and cleans up. Joan, William Gargan,
Glenda Farrell are fine. It's lots of fun.

TAGGING
the TALKIES

Delight Evans' Reviews
on Pages 32-33

The
Wedding
Night

United-
Artists

A rare and distinguished picture, offering
such perfect direction and acting that this
story of a Polish immigrant girl who falls
in love with an American novelist, already
married, becomes tremendously vital and
real. It is the best thing Anna Sten has
had to date, and her superlative perform-
ance is matched by Gary Cooper, Helen
Vinson, and Ralph Bellamy in the other
important roles. Cimema at its best !

The
Man
Who
Knew
Too
Much

Melodrama with a spectacular climax
and a swift pace, once the story gets
started, is this British film concerning a
kidnapping by an international anarchist —
a role played by Peter Lorre for the full
value of its velvet-gloved horror. Leslie
Banks is splendid as the father, Edna Best
satisfactory as the mother, and Nova Pil-
beam very good as the child victim. A
little confusing at times, but gripping.

Another Damon Runyon story with the
usual freak twists to keep the entertain-
ment ball rolling. Patricia Ellis is the girl
whose father tricks her into marrying the
man of his choice. George Barbier as
the father and Larry Crabbe as the swain
are aided by four crooks, William Frawley,
George E. Stone, Warren Hymer and Andy
Devine. The ending, with Crabbe pulling
a hero stunt in the football game is swell.

Some of the neatest comedy of the year,
supplied by Edward Everett Horton as the
pathetic clerk who hasn't nerve enough to
ask for a raise. When a smart salesman
tricks him into buying a lot which brings
him a fortune, Horton proceeds to get
even with everyone who had trampled him
in the past. Horton scores a knockout
performance and is supported by Karen
Morley, Allan Dinehart, and others.

The
Mystery
of Edwin
Drood
Universal

Fascinating murder mystery based on
the unfinished novel by Charles Dickens,
and as notable for the capital acting by
Claude Rains, Heather Angel, Douglass
Montgomery, David Manners, and others
in a notably fine cast, as for the brooding
atmosphere which pervades the macabre
story of a choir-singer torn between love
and jealousy for his nephew and the latter' s
fiancee. The ending is highly dramatic.

While
the
Patient

Slept
Warners

Murder mystery that fails to keep you
mystified to any notable degree. Aline
MacMahon, Guy Kibbee, Lyle Talbot,
Patricia Ellis and Allen Jenkins struggle
hard but the story odds are against them.
Two murders are committed, and the road
to solution is long and at times dreary. The
story falters and the dialogue is worn thin
by the time the mystery is cleared up, un-
fortunately for a fine and sincere cast.

McFad-
den's
Flats

Paramount

Elementry, my dear Watson — but thor-
oughly entertaining comedy of the popular
and wholesome sort. Just what you'd ex-
pect from the title — the plain people whose
daughter goes social, only to learn that
there's gold in the hearts of the people in
her tenement home district. Andy Clyde,
Walter C. Kelly, Betty Furness, Dick
Cromwell and Jane Darwell, all fine.
Amusing, and at times a bit touching.

^rtn \A>^ C0te

P 1 ***

B» hardW

ever get runs. B so the

eas\\Y "«der S< ____

This vivid young Paramount star adores fluffy sweaters — wears them off the set
whenever possible. Helen's hard work is earning her the "breaks" in pictures.
Her latest is Paramount's new production, "Four Hours to Kill."

LUX WONT SHRINK

uxis the swellest trouper I know," says Helen Mack. "When
I was 13, I started on the road. Keeping my costumes looking
fresh and new for one-night stands might have been a problem.
But I'd learned to depend on Lux — used it for silks, woolens,
stockings, lingerie — every last thing that was washable.

"So that was easy! And I'm still keen about Lux. It's a
big economy, and keeps things grand-looking for ages. I like
it especially for sweaters. They stay soft as a kitten's ear and
keep the same smart fit they have when new."

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Specified in all the big Hollywood Studios

" Costumes represent a big investment to be safeguarded,"
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"That's why we specify that all washable costumes be
cared for with Lux. It protects the colors and materials,
keeps them new longer, and saves money!"

WOOLENS -.WONT FADE COLORS

THE CUNEO PRESS. INC.. CHICAGO

Camels certainly
make a difference—"

SAYS

MISS MARY DE MUMM

In Newport, where she made her debut,
Miss de Mumm is one of the most pop-
ular of the smart summer colony, just as
she is among the most feted of the younger
set during the New York season.

"Both in the enjoyment of smoking and
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People do welcome the renewed energy
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MRS. NICHOLAS BIDDLE, Philadelphia

MISS MARY BYRD, Richmond

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MRS. THOMAS M. CARNEGIE, JR., New York

MRS. J. GARDNER COOLIDGE, II, Boston

MRS. HENRY FIELD, Chicago

MRS. JAMES RUSSELL LOWELL, New York

MRS. POTTER D'ORSAY PALMER, Chicago

MRS. LANGDON POST, New York

MRS. WILLIAM T. WETMORE, New York

MISS DE MUMM'S TAILORED HOSTESS COAT BY HATTIE CARNEGIE DEMONSTRATES
THE COOL ELEGANCE OF THE NEW PIQUES FOR SUMMER

CAMELS ARE MILDER !... MADE FROM FINER, MORE EXPENSIVE TOBACCOS
...TURKISH AND DOMESTIC .. .THAN ANY OTHER POPULAR BRAND

WES in

PAGE MISS GLORY" CONTEST

Glamor Girl by YICKI BAUM

Why we love SHIRLEY TEMPLE — her leading men tell

Today is your Wonderful Day

A CANTER with that nice Princeton
boy over the Westchester hills, green
and misty . . . luncheon at the Ritz with
Paul and Frank and Leila ... to the
matinee with Jud . . . then in Charlie's
plane to New Haven and that wonderful
party where your partner will be a real
prince . . . What a lucky girl you are to
be so popular! What's that you say . . . .
it's not all luck? A little forethought and
common sense mixed in, you maintain
. . . How right you are,
little Miss Charming.

* * *
A girl may be pretty
and witty and appeal-
ing, but unless her

P. S. Do not make the mistake of as-
suming that you never have halitosis.
Due to processes of fermentation that
go on even in normal mouths, halitosis
visits everyone at some time or other.
The insidious thing about it is that
you never know when.

breath is beyond reproach she gets no-
where. After all, halitosis (unpleasant
breath) is the unforgivable social fault.
The sought-after woman . . . the popular
man . . . realizes it, and takes sensible pre-
caution against offending others. It's all
so easy. . .just a little Listerine morning
and night and before engagements. That
is your assurance that your breath is sweet,
wholesome and agreeable. Listerine
attacks fermentation, a major cause of
odors in the mouth,
then overcomes the
odors themselves.

Lambert Pharmacal
Company, St. Louis,
Missouri.

BEFORE EVERY SOCIAL ENGAGEMENT USE LISTERINE ... DEODORIZES LONGER

Screenland / o r ] u I y 19 3 3

"BARBAROUS l"X

ayS GOOD HOUSEKEEPING BEAUTY EDITOR

INTELLIGENT I" Says YOUR OWN DENTIST

IT ISN'T BEING DONE, BUT IT'S

Oncl/Va

TO PREVENT "PINK TOOTH BRUSH

"TT'S worse than a blunder, it's a so-
JL cial crime," exclaimed the Director
of the new Good Housekeeping Beauty
Clinic. "That girl," she went on, "is
headed for social suicide."

But dentists looked at it differently.

"An excellent picture," was their gen-
eral comment. "It's a graphic illustration
of a point we dentists are always seek-
ing to drive home. If all of us gave
our teeth and gums more exercise on
coarse, raw foods, many of our dental
ills would disappear."

Time and again dental science has
crusaded against our modern menus.

IPANA

TOOTH PASTE

Coarse foods are banned from our tables
for the soft and savory dishes that rob
our gums of work and health. Gums
grow lazy. .. sensitive. .. tender! It's no
wonder that "pink tooth brush" is such
a common warning.

DON'T NEGLECT "PINK TOOTH BRUSH"!

For unheeded, neglected — "pink tooth
brush" may mean serious trouble — even
gingivitis,pyorrhea or Vincent's disease.
Follow your dentist's advice. Brush

IPANA and Massage
mean

Sparkling Teeth
and Healthy Gums

your teeth regularly with Ipana Tooth
Paste. Then, each time, rub a little extra
Ipana into your gums. For Ipana and
massage help restore your gums to
healthy firmness. Do this regularly and
the chances are you'll never be bothered
with "pink tooth brush."

WHY WAIT FOR THE TRIAL TUBE?

Use the coupon below, if you like. But
a trial tube can be, at best, only an intro-
duction. Why not buy a full-size tube
of Ipana and get a full month of scien-
tific dental care and a quick start toward
firmer gums and brighter teeth.

BRISTOL-MYERS CO. , Dept. 0-75
73 West Street, New York, N. Y. code
Kindly send me a trial tube of IPANA TOOTH
PASTE. Enclosed is a 3e stamp to cover partly the
cost of packing and mailing.

Name_

HAY 21 1935' ©C1B 262829

The Smart Screen Magazine

Delight Evans, Editor

James M. Fidler, Western Representative

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

SO YOU

WANT TO WRITE
ORIGINAL STORIES
for MOTION PICTURES?

Who doesn't? Almost every-
one has a story to tell. And al-
most everyone would like to tell
it in saleable form so that it could
be sold to the movies. The ques-
tion is, can it be done? Is it a
waste of time to write down your
ideas which you believe would
make good motion picture ma-
terial? Or is some producer out
in Hollywood sitting behind a big
mahogany desk just waiting for
you to send in your idea so that
he can buy it for his next big
production?

Screenland has been asked
repeatedly for advice and sug-
gestions as to the possibility of
selling original stories to the
movie companies. Now we have
the answer for you! Straight
from the shoulder, out of her own
practical experience as an author
of best-selling novels and popular
screen stories, Beth Brown has
written a sympathetic, human-
interest feature which we advise
you to read if you want the truth.
Miss Brown's article will appear
in the August issue, on sale June
25th. Read it, by all means.

July, 1935

Vol. XXXI. No. 3

EVERY STORY A FEATURE!

13
14

An Open Letter to Elisabeth Bergner Delight Evans

Why We Love Shirley Temple. Her Leading Men Tell

Dorothy Manners
Don't Fear Passing Years! Says Claudette Colbert

Maude Cheatham

Problems of an Actor's Private Life. Leslie Howard B. F. Wilson

The Mad, Merry Set of Hollywood Elizabeth Wilson

H. G. Wells Talks About the Movies Pearl Katzman

Glamor Girl. Fiction Vicki Baum

Will Rogers' Cinematic Life Story James M. Fidler

Mister! Missus! Lew Ayres and Ginger Rogers ..James Marion

Prizes in "Page Miss Glory" Contest 28

Page Miss Glory. Fictionization Elizabeth Benneche Petersen 30

Fair Exchange Leonard Hall

He-Man of Song. Nelson Eddy Tom Kennedy

W. C. Fields' Real Life Story. Part Two Ida Zeitlin

Reviews of the Best Pictures Delight Evans

16
17
18

20
22
24
26

32
51
52
54

Screenland Glamor School. Edited by Rochelle Hudson 58

SPECIAL ART SECTION:

What's New in Hollywood? The Gay New Garbo. Joan Crawford and
Robert Montgomery. Katharine Hepburn and Charles Boyer. George
Brent and Kay Francis. Warner Baxter in The Most Beautiful Still of the
Month. Men About Town. Girls About Home. Dolores Del Rio
Dances. Love Time in Picture Town. And They Call This Work in Holly-
wood. Nautical — But Oh, So Nice. Sun Fun. Cagney Cleans Up.

DEPARTMENTS:

Salutes and Snubs. Letters from Readers.

Inside the Stars' Homes. The McCreas (Joel and Frances Dee) 8

Screenland Honor Page 10

Ask Me Miss Vee Dee I I

Clever Footwork. Beauty Josephine Felts 56

Good at Figures James Davies 57

Here's Hollywood. Screen News 60

Ethel Merman Leads Our Radio Parade Tom Kennedy 64

Femi-Nifties 90

Tagging the Talkies. Short Reviews 98

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Adv. Representative Loyd r>.
Chappell, 511 S. Alexandria Ave., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention
but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada;
foreign $2.50. Changes of address must reach us six weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class
matter November 30, 1923, at the Post Office at New York, N. Y., under the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1935.

Member Audit Bureau of Circulations.
Printed in the U. S. A.

Metro- Goldwyn -Mayer presents the season's gayest romance adapted
from New York's laughing stage hit!

JOAN ROBERT

CRAWFORD MONTGOMERY

NO MORE LADIES

with

CHARLIE RUGBIES • FRANCHOT TONE • EDNA MAY OLIVER

Directed by Edward H. Griffith

SCREENLAND !

You write 'em! We print 'em!
Producers and stars read 'em!

Saluting versatile Loretta Young! Left,
a first still from "The Crusades," with
Ian Keith. Above, Loretta and Clark
Gable in "The Call of the Wild."

The first eight letters receive
prizes of $5.00 each

PRETTY NICE OF LORETTA!

Who says Loretta Young isn't nice?
While filming "Call of the Wild" up here
she gave every evidence of being charming.
Retiring early one evening, Loretta got
up around ten o'clock, (at night), when
she heard that a girl had been waiting
since six o'clock for her autograph ! P.S.
I got the autograph !

M. F. Donner,
6220-37 N.W.,
Seattle, Wash.

HERE'S PRAISE INDEED

As a Screenland reader living in the
Thrums countryside, I congratulate Holly-
wood on its superb picturization of "The
Little Minister." Hepburn and Beal were
grand. Characterization, setting, and cos-
tumes— excellent. I question if British
producers could have done the job half
as well.

David Donald Jolly,
27 Queen St.,
Forfar, Angus,

Scotland.

BEDAZZLED BY BLONDES

Something should be done about this
business of casting too many blondes in
one film. "The Captain Hates the Sea"
was a swell picture, but although I am a
movie fan, those three blondes in the film
kept me constantly confused. Why not
give the brunettes a break?

Gene Ayden,
Boone, N. C.

WAIT'LL HE DOES WIN— WOW!

Can't something be done for Jack Holt?
I've followed him in picture after picture
and never yet have I seen him win the
girl. If this continues Jack is going to
develop an inferiority complex.

M. Seitter,
6454 Laflin St.,
Chicago, 111.

SIMILE SALUTES

Add similes : As charming as Leslie
Howard. As dashing as John Barrymore.
As nonchalant as William Powell. As
well-turned-out as Adolphe Menjou. As
homespun as Will Rogers. As handsome
as Clark Gable.

Miss D. M. Moore,

Santa Rosa, Calif.

DOUBLE-FEATURE DISCORD

Why doesn't the "front office" of the
movie industry put a stop to these tire-
some, double-feature billings? Right now
there are such disgusting program-mix-
tures. For instance, the exquisite "Barretts
of Wimpole Street" shown with a rough
and bloody western, "Two-Gun Pete." The
effect was positively revolting.

Mrs. Paul Weber,

Ursa, 111.

DO YOU AGREE?

Perhaps the tragic ending of "The Wed-
ding Night" was logical, but it left me
with a feeling of frustration. Despite argu-
ments favoring the unhappy ending, I be-
lieve movie audiences prefer the happy
one. Life is tragic enough for most of
us; that's why we go to the movies.

Mrs. W. M. Jackson,
810 West 7th St.,
Columbia, Tenn.

THE MOVIE-MADE TOWN

It used to be a dead old town until
they built a theatre this winter. Now what
a difference ! The new theatre, one of
the finest in the county, draws people —
and with them life and amusement — from
all the surrounding towns.

Chester L. Weaver,

228 Front St.,
Lititz, Penna.

Does Hollywood create true or false impressions
of distant locales reproduced as backgrounds for
its film dramas? Is the "double feature" a menace
or a blessing? How many fans really like to see an
unhappy ending, even if logical to the drama?
Here are but a few, a very few, of the interesting
questions thrashed out in the present session of the
Salutes and Snubs meeting.

Are you a regular contributor to this department?
If not, it's high time you joined the lively party and
had a good time for yourself! Your Salutes are
appreciated, your Snubs taken to heart by the
stars. You can tell your favorites precisely what
you want to say to them and be sure they'll get
your message — if you send your comment through
the medium of Salutes and Snubs. It's easy to do.
Simply say what you think — saying it, please, in
fifty words or less — and address your letter to:
Letter Dept., SCREENLAND, 45 West 45th St., New
York, N. Y. You may win a prize— $5.00, you
know, if your letter is iudged to be one of the
eight best for the month! Let's hear from you!

for / illy 1935

CICELY COURTNEIDGE

BARRY MACKAY

*By Courtesy of Metro-Goldwyn-Mayer

SCREENLAND

Exclusive photographs,
posed especially for Screen-
land Service Section, by
John Miehle, RICO.

The beautiful Lady of
the Rancho greets you!
Here at the right is
Frances Dee McCrea
inviting you to her pic-
nic in the summer-house.

Betty
Boone

Stars' Homes

And Outside, Too! This Time a
Ranch Picnic with Frances Dee
McCrea Your Charming Hostess

Above, a "long shot" of the McCrea home about
forty miles from busy Hollywood. Not a play place,
but a real, paying ranch of 3,000 acres.

FRANCES DEE and husband Joel McCrea— or
Joel McCrea and wife Frances Dee, as you pre-
fer— have a three thousand acre ranch about
forty miles from Hollywood. It's not a play
place, but a real ranch with horses, cattle, chickens,
alfalfa, clover, and everything that belongs there. A
foreman is in charge and — acid test — it showed a nice
profit last year.

The house is early American, nestled into a green
hillside. From its long low veranda there is a view of
other hills with sunny valleys between ; on a clear day,
there is even a glimpse of the ocean. Golden poppies
and blue lupines make a colorful pattern below the grass
plot. A summer-house and swimming-pool, (not a
gleaming-tiled Hollywood affair, but a swimmin'-hole") ,
are set still lower beyond a group of tiny citrus trees.

"We'll have the picnic in the summer-house," decreed
Frances, "Isn't it fun to eat outdoors? I come of a long
line of picknickers and it's my favorite recreation. I
grew up in Chicago and everyone picnics there. Sort of
a habit. We used to snatch up whatever food happened
to be in the house, mix up lemonade, and dash off. But
on special occasions, naturally, there were special dishes.
We'll go into that later. Right now, we'll take our own
picnic down and eat it, shall we? Everybody help!"

Our hostess was appropriately — and most becomingly
— dressed in blue flannel slacks and shirt. Joel, arriving
at that moment mounted on his favorite horse, wore

Joel McCrea and his lovely wife, known to you as
Frances Dee, spend quiet evenings before their fire
like other happily married folk!

overalls with chaps and riding boots — and handsome he
looked, too.

He was so full of good news he couldn't wait to dis-
mount, but shouted: "Hey, 176 has a calf, sweetheart!"
when he got in earshot.

Frances thrilled. We all stopped, with our arms full
of appetizing food, to hear about 176-A, as the calf was
laughingly named. It seems that all Joel's cattle are
numbered instead of branded.

Augmented by Joel and the two dogs. Stubby and

for } uly 1933

LO¥E LY HAIR

trffcact ''men?

Won't id dew "CLOSE-UP'

mem

For Hair

Shane, the picnic party descended to the
summer house, the hot corn pudding in my
charge. This is the dish for which Delia,
the McCreas' maid, is especially famous,
and it's an addition to any picnic. Here's
the recipe:

Corn Pudding

1 pint corn off cob or canned

2 eggs

l/> teaspoon salt

A dash of pepper

1 rounded teaspoon sugar

3 tablespoons butter
1 cup milk

Mix corn, sugar, pepper, salt. Add
melted butter. Break eggs into milk,
whip slightly, then mix with corn. Bake
in a slow oven.

"In California, you must have at least
one hot dish," said Frances, as we spread
out chicken, ham, hiscuits, honey, salad, cot-
tage cheese, and pie on the summer-house
table. "Delia's corn pudding is a grand
one, and can be carried in a thermos food
container. We like it better than baked
beans or spaghetti. But back east our
main idea was to get cool when we went
on a picnic, so hot dishes were out.

"We used to go in for cold drinks, but
we never heard of the marvelous ones I've
discovered lately. We're serving coffee
today because there's a cool breeze, and
milk because Joel's so proud of our ranch
product, but let me tell you two perfectly
grand drinks I've tasted : Canton Cup and
Iced Coffee with Orange."

Canton Cup

Place in a bowl two oranges sliced, the
juice of two lemons, four cups of tea in-
fusion, six sprays of mint, half a cup of
sliced cucumber, and four tablespoons sugar.
Mix and stand in refrigerator for an hour.

When ready to serve, strain into a glass
pitcher. Place down the inside of pitcher,
six sprays of mint, some whole straw-
berries and one long piece of cucumber
rind. Then fill pitcher with ice cubes and
ginger ale.

Iced Coffee with Orange
Place in a pan, one cup water and thinly
cut rind of two oranges. Bring to a boil
and let simmer for ten minutes. Remove
from fire and add half cup sugar, stir until
sugar is dissolved ; when cold strain out
peel and add four cups of clear, strong,
black coffee. Chill thoroughly. Just be-
fore serving add half cup of coffee cream
and the strained juice of two oranges.
Serve in tall glasses and top each glass
with a spoonful of whipped cream.

'What fun picnics are !" sighed Frances,
a chicken wing in one hand, a biscuit in
the other. "I always enjoy them, even
when we have mishaps. I remember one
day, when I was in Chicago, we packed
a lunch and went to the Indiana sand
dunes, a pet spot. We had set out the food
and were just going to eat when along
came a sand storm. We grabbed the stuff
and fled to the cars and huddled down in
them. The sandwiches were full of dust,
even the lemonade was gritty !"

"Have on olive?" urged Joel, passing
them. "No, they didn't grow on the place,
but we have some olive trees — come out
next year and see what they can do !"
Young olive trees shade the summer house
and pool.

"Californians always take olives to a
picnic," mused Frances, "but back east
pickles seem to rate higher. New and dif-
ferent pickles was a slogan. Do you know
about quince pickles? Or nasturtium?
Delia will give you the recipes."

Delia did, and here they are:

Nasturtium Pickle
It takes one year from the time the
pickles are put up until they are ready for

{Continued on page 94)

inclined to be oily

Guard against flabby oil glands and the
embarrassment of stringy, oil-flooded
hair which will not hold a wave. Use
Packer's Pine Tar Shampoo. This
shampoo is gently astringent . . .
made especially for oily hair.

Packer's tonic Pine Tar Shampoo is
absolutely safe. Use it as frequently as
necessary to cultivate the shining
fluffiness which is the birthright of
your type of hair.

inclined to be dry

Avoid harsh shampoos which increase
dryness and leave your hair dull . . .
fly-away . . . the kind that "frizzes"
rather than "waves"! Use Packer's
Olive Oil Shampoo, made especially for
dry hair. It is a gentle "emollient" and
contains soothing, softening glycerine
to help your hair become silky and
manageable.

Both Packer Shampoos are made by
the makers of Packer's Tar Soap.

SCREENLAND

Fredric March, above, with Rochelle Hudson in "Les Miserables."
The close-ups show phases of his superb characterization.

SCREENLAND

Honor Page

T ET'S come right out with it: Fredric March
is the finest young actor on any screen. In
"Les Miserables" he competes in artistry with
such seasoned thespians as the impressive Sir
Cedric Hardwicke and the eccentric Charles
Laughton — and it is March who triumphs. We
have been generous in our praise of imported
talent, and rightly; but we should not forget
that in Fredric March we have the most sincere,
the most versatile of all younger cinema actors.

Forward, March!
We Honor Fredric
the Great for his
Jean Vauean in "Les
Miserables"

TN the heroic role of Jean Valjean in the
■*■ praiseworthy Zanuck-United Artists picturi-
zation of Victor Hugo's great book, "our Mr.
March" surpasses even his own past memorable
performances — yes, even his "Dr. Jekyll and
Mr. Hyde." As the tortured convict he is har-
rowingly real; as the fugitive he flames with
feeling; and he achieves his perfect performance
not by mere make-up or mannerism, but by
his bright inner fire — he is indeed an artist!

for July 1935

Ask Me!

By Miss Vee Dee

A Hoosier Fan. Your state has pro-
duced many well-known actors, actresses,
painters, writers of fiction and poets — not
to mention Presidents and Vice-Presidents.
Several screen stars claim Indiana as their
birthplace. Among them are Louise Dresser,
Ann Christy, Louise Fazenda, Carole Lom-
bard, Irene Purcell, Ross Churchill, Char-
lie Murray, Richard Bennett, father of the
three Bennett girls, Barbara, Constance,
and Joan ; Tom Geraghty, story writer for
pictures, and Charles Butterworth, South
Bend, Indiana's boy who has made good in
cinemaland.

Curious Fan. Many of our screen stars
make a picture or two or three, then do a
play on Broadway — it's all in a day or
night's work. Our one-time blonde fa-
vorite, Blanche Sweet, is appearing in a
Broadway play as I write this "The Petri-
fied Forest," written by Robert Sherwood
and starring Leslie Howard. Humphrey
Bogart, who has been in several films, is
also in the cast.

Nell. L. Stand by for your lesson in
arithmetic, Nell, and figure out just how
old or young Jean Parker is. She was
born in Deer Lodge, Montana, on August
11, 1915, and that's the truth, so help Metro-
Goldwyn-Mayer. She has dark brown
hair, hazel eyes, weighs 105 pounds and
is 5 feet 3 inches tall. Her first film,
"Divorce in the Family," was made in
1923. Myrna Loy is ail-American, born
in Helena, Montana, in 1906. Margo has
another name but doesn't use it in pictures
or on the stage. Her latest release is
"Rumba" with Carole Lombard and George
Raft.

Mrs. A. B. You're right. Marguerite
Snow was James Cruze's first wife and they
had a daughter named Julie. We're all in
love with Freddie Bartholomew, so you
are no exception. His portrayal of young
Master Copper field is one of the finest bits
of child acting ever caught by the camera.

Dorothy P. As far as I know Joan
Crawford's first marriage was with Doug-
las Fairbanks, Jr. Joan's natural ability
as an actress and her outstanding picture
personality are of greatest concern to us,
after all. Occasionally a former stage star
walks away with a picture, as you have wit-
nessed in the case of Frank Morgan.

Violet S. I don't believe Leon Janney
has made any new picture contracts. He
appeared in a stage play, "Every Saturday,"
featuring Queenie Smith, but Queenie has
since taken herself and her talents to Holly-
wood, a film contract in her pocket and her
first screen role, in "Mississippi," is now
behind her. Leon meantime has remained
in New York, chiefly engaged in being a
master of ceremonies at a swank night
club, and also pursuing his desire to fur-
ther himself as a stage actor. His latest
contract is with the Theatre Guild.

in her new picture

LOVE ME FOREVER

■' ■' '- with ■ .V - • '

LEO CARRILLO - ROBERT ALLEN

Screen play by Jo Swerling and Sidney Buchman
Directed by Victor Schertzinger

A Columbia Picture

SCREENLAND

MORE THAN 5,000 TIMES

Sometimes you see her as a debutante, some-
times as. the happy housewife and young
mother; again as the blooming bride. Her
flawless teeth have gleamed at you from
scores of tooth paste pictures. She is Elizabeth
Russell, most photographed of beautiful New
York models and one of the most successful.

U food

Ja^J ELIZABETH RUSSELL

"No one," says Miss Russell, "is in a better
position to judge products, especially those affect-
ing health and beauty, than models.

"Manufacturers are constantly asking us to try
various creams, powders, soaps and tooth pastes.
It doesn't take long to find out which have merit.
They prove themselves quickly. These we use.
The others we reject. For, after all, when one's
good looks and livelihood are concerned, one can-
not afford to take chances. That is especially true
in the case of tooth paste. A model with poor
teeth is a model without work.

"Of all the dentifrices, I like Listerine Tooth
Paste best. I began using it when I first went into
modeling four years ago. It's really marvelous how
thoroughly and quickly it cleans. It seems to im-
part to teeth a brilliance and lustre that photogra-

phers like to see reproduced in their work.

"And it is reassuring to know that it is
safe to use. The ingredients are so fine and
so pure that they are not a menace to enam-

el—the thing all models guard against."

Your Teeth Can Look Better

More than two million women and at
least one million men have found that
this tooth paste accomplishes remarkable
results in keeping teeth healthy and beau-
tiful. Such results are due to ultra-modern
polishing agents — thorough but oh so
gentle in action— that Listerine Tooth
Paste contains.

Why not get a tube and try it for a
week or two. See how much better your
teeth look and feel. At all druggists in
two sizes: Regular 25^ and Double Size
40^. Lambert Pharmacal Company,
St. Louis, Missouri.

THE FILM-COMBATING, STAIN-ATTACKING TOOTH PASTE

for July 19 35

The expressive face of the great
Bergner, above; and right, in
one of her inimitable "eating"
scenes.

Acclaimed by George Bernard
Shaw and Sir James M. Barrie,
Elisabeth Bergner is also a pet
of the public.

An O pen Letter to Elisabeth Bergner

DEAR PIXIE:
Come right down out of that tree-top, Peter
Pan! You look little and impish and appealing
up there, shaking your straight golden locks; in fact,
I don't know anyone who can look cuter doing that
sort of thing, except possibly Freddie Bartholomew.
But I'm not to be taken in; I know you come down to
earth occasionally, because I caught you eating salami.
And maybe I didn't tell myself I was watching a price-
less performance! The great Bergner, sensation of two
continents, in a salami close-up! Only Joseph M.
Schenck, the benign big boss of the United Artists
company that releases your pictures, could have di-
rected you in such a scene and got away with it. Mr.
Schenck has a sense of humor and so have you. Your
nibbling scenes in "Escape Me Never" have audiences
drooling in sympathy. And here I was watching a
close-up of the enigmatic, elusive Elisabeth tackling
the salami and going straight on through the liver-
wurst, and getting hungrier myself by the minute, but
afraid I would miss a Bergner gesture if I gave in.
But it was worth it. How I enjoyed your perform-
ance— a composite of "Catherine the Great," and
Gemma in "Escape Me Never," and "Ariane," with a
dash of Peter Pan just for luck and for dear old Sir
James M. Barrie. I think I also caught a glimpse of the
genuine Bergner beneath all the art, and I like that
Bergner, if she's the one I think, even better than the
other girls.

I said: "You're not really shy at all," and you gave
me a wise look out of those amazing, liquid brown
eyes that can hold so much wonder and woe, and you
said: "It is embarrassing, being on exhibition" —
because all the people who'd been trying to catch up

with you since you landed in America and had failed
until Mr. Schenck grabbed you and gave you a plate
of food and called in the press — suddenly seemed to
appear at once, to stare at you who had never before
been stared at in person. And you, the brilliant Berg-
ner selected by George Bernard Shaw to film his "St.
Joan" instead of Hepburn or Joan Crawford who
wanted to film it; who inspired Sir James M. Barrie
to get to work again after his long silence to write
a new play just for you — you sat there in a little-
girl's frock of blue and white, with the afternoon sun
streaming full upon you and your hint of freckles
and your child's hands innocent of manicure; and you
giggled disarmingly, and munched contentedly; and
you were so friendly and so natural and so gay that
I wish half the actresses in Hollywood could have been
there to take a lesson in real Acting — and in good
manners.

Speaking of Hollywood: "I do not belong there,"
you said. "I am foreign. But I am curious about
Hollywood, and I shall go there one day — but quietly,
secretly and quietly. It cannot be done? Ah, but I
think it can! It is always possible to go quietly and
attract no attention — if one really wishes to."

Think that over, Hollywood.

LKU^ §

SCREENLAND

WHY

As told to

Dorothy
Manners

o i re n Sh irley's
Faithful Swains
Explain Devotion!

EDITOR'S NOTE: A little honesty in the beginning con-
cerning the feelings of the average actor about playing with
a child star can't help but color these tributes from The Men
In Shirley's Life (so far), with real significance. For, verily,
the average adult performer had rather grow crow's feet,
lose his hair, and pay income tax than to play in support of
a child or an animal. It isn't entirely professional jealousy,
either; though no matter how much sex-appeal he turns on,
the little two-foot, or four-foot is a cinch to walk off with
all the honors.

But if the ordinary run of picture-making is a hard grind
and a gruelling effort, making a movie with a child is nothing

short of a prelude to a nervous breakdown. Invariably, just
as the actors work themselves up to the correct emotional
pitch, someone discovers little Tootsie-Wootsie has gone to
sleep and the Society For The Prevention of Waking Sleep-
ing Children will not permit her, him, or it to be aroused.
Or else, right in the middle of a difficult scene the Infant
Prodigy has to go home because the State Laws won't per-
mit minors to work more than four hours, seventeen min-
utes, and no split seconds before the camera daily.

But Shirley Temple is no average child star, as the actors
who have appeared in her pictures are so willing to testify.
Read why they regard her "a real trouper."

for July 19 35

WE LOVE SHIRLEY

Her Leading Men Tell

Lionel Barrymore — The "Little CoIonelY
Big Colonel

LOVE Shirley because that glorious, shining sim-
plicity of hers on the screen is no camera trick
of a precocious little girl, but a true reflection of
the child as she really is. After working with
Shirley for six weeks I came to the conclusion that hers
is not a temporary talent to fade and die after she has
passed her baby days. My grandmother, the first Mrs.
John Drew, was a great actress at six years of age. I
have several engravings of her taken at that stage of
her career. At the age of eighty she was the outstand-
ing Mrs. Malaprop of all time. Like this great soul, I
believe little Shirley's artless art will survive and carry
her forward as long as simplicity and loveliness continue
to charm the hearts of the world.

"Away from the camera she is just a baby. She makes
a game of acting; but still, I have watched her closely
and can see that at times she is severely bored with it
all, the constant repetition and retaking of scenes. Here
is a case in which the director, scenario writer, and
dialogists are making no mere brain-tank of this child.
She may reflect their suggestions, but she reasons every-
thing out with a rare intelligence in her own manner.

"Once during the making of 'The Little Colonel' the
writers had put a long and involved speech in Shirley's
mouth. Little trouper that she is, she had no difficulty
in memorizing the rather stilted lines — yet I could see
she was not happy in speaking them. 'What's the matter
Shirley?' I asked, pulling her close. We were great ones
to whisper about things during rehearsals, Shirley and I.
She cupped her hand against my ear and whispered the
speech as she would like to say it
in the utterly natural manner of a
child. I told the director — and
Shirley's {Continued on page 77)

Above, Miss Temple
and her next-to-fa-
vorite leading man:
Joel McCrea, who
plays her screen fa-
ther in her new film,
"Our Little Girl."

Head-Man in Shir-
ley's screen life:
Jimmy Dunn, right.
Jimmy admits Shirley
reformed him — and
what's more, she even
made him like it!

Below, from left to
right: Shirley with
Lionel Barrymore in
"The Little Colonel";
with Gary Cooper in
"Now and Forever";
and with Lyle Talbot.

SCREENLAND

Don't
Fear
Passing
Years!

Says

Claudette Colbert

As told to Maude Cheatham

Claudette, lucky
and lovely — young
enough to be a
tennis girl; poised
enough to play
matured women.
Every woman will
want to read how
Colbert kids the
age jinx!

ime holds no terrors for me. I'm not in the
least daunted by the passing years!"

It was Claudette Colbert speaking!
I was so amazed that I almost toppled off my chair.
Such an attitude in any woman is unusual, to say the
least. Yet here was a screen star, young, beautiful, suc-
cessful, who approached the feminine bugaboo with ut-
most serenity. To most actresses it spells Tragedy ; the
end of all things precious.

Noting my speechless surprise, Claudette, with a
laugh, went on: "We can't buck the forces of the uni-
verse. And who wants to? The thrill of human ex-
istence is its continual change. What a terrible thing
it would be if we had to go right on singing the same
song in the same way, year after year ! It is monotony,
not age, that kills."

Claudette was curled up like a kitten in the corner of
a big divan in her white and blue dressing-room at the
Paramount studio. As I watched her it suddenly came
to me that her delicious sense of humor and her abound-
ing enthusiasm, which make her one of the most vital
personalities on the screen today, were also the very
qualities that formed a shield against the frightening
aspects of the passing years.

'Women give too much importance to birthdays," she
went on. "Of course, I'll change with the years and my
ambitions, my viewpoints will change, too. But you see,
I hope to live every year to its fullest and to be eager
to meet that other self as I round each corner.

"I'm not the same girl I was five years ago. I don't
regret that. Why, I've lived and learned and achieved
so much during these years !

"I don't want to stand still. Each year brings its
special gift and believe me, I'm {Continued on page 82)

for July 193 5

Leslie Howard, shown above and
right, below, with his daughter at
his home in England: exclusive fam-
ily pictures never before published.

Probl ems

of an Actor's
Private Life!

ESLIE HOWARD came into the room. He had
just been for a long stroll in Central Park. He
j wore the traditional Englishman's idea of a
proper walking costume, consisting of a sweater
under the coat of his suit ; no top-coat, of course ; no hat,
and heavy brown suede oxfords. With his pipe clenched
between his teeth, he must have aroused no little curi-
osity as he walked down Fifth Avenue. Pedestrians
probably took him for "another one of those health nuts."

Certainly as one saw him then, one would never have
connected him with the theatre. Here is no handsome
matinee idol, I thought as I watched him move about the
room. No swash-buckling romantic figure to speed up
the feminine pulse. You would never suspect him of
being in the same category with Clark Gable, with his
lure of good looks. Or Ronald Colman and his fascina-

Leslie Howard
speaks frankly
about home,
children, salary,
and success in life

By B. F. Wilson

tion of sophisticated charm. Or Maurice Chevalier with
his obvious sex appeal. Or any of the other famous
screen idols. I saw before me just an ordinary young
man with an intelligent face.

And yet, over on Broadway his name was bringing joy
to the box-office not only of the theatre in which he was
scoring the biggest hit of the current season in a play
called "The Petrified Forest," but also to the largest
motion picture palace in the world, where his latest
screen vehicle, "The Scarlet Pimpernel," was drawing
unmitigated praise from all who saw it.

He sat down in an arm-chair and proceeded to polish
his horn-rimmed glasses. They make him look like a
student. The dark color of the rims accent the blueness
of his eyes, and the blondness of his closely-cropped,
curly hair. Always slight of {Continued on page 68)

SCREENLAND

Who's eligible for membership in the
Irresponsibles Club? Some of your
pet picture stars! Read about their
gay goings-on — just good, clean fun

IT ALL happened when Bill Fields, who sports the
only double begonia beak in Hollywood, and Greg
La Cava, who directs with beer and banter, (his
latest being "Private Worlds"), got on a train one
week-end to get away from it all in Santa Barbara.
When Mr. La Cava tapped on Mr. Fields' compartment
the next morning he found a very, very wrinkled Mr.
Fields sitting on the side of his berth and morosely
drinking very black coffee. Mr. Fields was quite sad
about it all ; he couldn't change his shirt because he had
forgotten his luggage ; in fact, he couldn't even get off
in Santa Barbara because quite inadvertently he had
gotten on the Chief bound for Chicago. Mr. LaCava
sat right down in the wash basin, which is a neat trick,
and had fits and convulsions.

And that, you dear wretches, is how Hollywood be-
came Irresponsible-conscious. Bill and Greg, having
nothing to do until the train reached Albuquerque, de-
cided to organize the Fits and Convulsions Club with the
oddest rules and by-laws. Such as, there are four vice-
presidents, but nobody knows who the president is.
There is a fine of twenty dollars for any member caught

Mad

having a sane conversation with anyone for more than
four minutes. There is a ten dollar fine for anyone get-
ting on a train with all his luggage, and a twenty dollar
additional fine for anyone caught not annoying the
porter. One day each month members must spend with
a sane person, sympathizing with him. (This is the only
"charity" the club goes in for.) Every applicant must
be quite mad, but with a sense of humor, and every appli-
cant must have a check made out to the club for ten
thousand dollars initiation fee — but the check definitely
must bounce.

Well, when the Hollywood Reporter heard of the new
club it immediately submitted an exclusive list of eligi-
bles, and the town screamed in the throes of a bloodless
revolution. Everyone was mad because he wasn't con-
sidered mad. People who for years had sort of been
hiding their irresponsibilities in the bottom of the clothes
closet with the family skeletons and "Lady Chatterly's
Lover" suddenly dragged them forth, shook out the
moths, and put them on parade. Several stars whose
names weren't on the list decided to sue the Reporter
for defamation of character and not eat at the Vendome
for a week. A Bennett, no less, raised loud complaints
and offered to prove to the editors that she was just as

for July 19 33

Merry Set!

insane as anybody else. Such goings-on ! The whole
town reeked with irresponsibility. A sane person was
treated like a leper. If you weren't quite mad you just
didn't belong ; indeed, you couldn't be one of the Right
People on the Left Bank.

Well, just as you suspected, your Auntie Bess was on
the original list of eligibles for Fits and Convulsions,
neatly sandwiched in between Bill Powell and Dick Bar-
thelmess, lucky girl. Two things, well, many things, I
have done in Hollywood made me definitely eligible.
There was the night I took Claudette Colbert down to
the RKO Hill Street theatre to a preview. There was
a crowd of newspaper folk around and it took me several
minutes to get the preview tickets, but I got them and
blithely started into the theatre when I bumped right
smack into Claudette. "Hello, Claudette," I said quite
surprised, "I didn't know you were coming tonight !"

And there was the very formal and dull dinner party
during the recent censorship crisis when I had to sit
next to a big shot censor from the East, who confiden-
tially informed me with the fish that he thought some-
thing would have to be done about DeMille's "Cleo-
patra." "But you can't do anything about 'Cleopatra,' "
I said quite aggrieved, "it's in the Bible." And for hours

By Elizabeth Wilson

Charter Member of
the Irresponsibles

I discussed the Biblical Cleopatra and Mr. Whosis
seemed rather impressed. It wasn't until several days
later that it came to me that Cleopatra isn't in the Bible.
I was thinking all the time of a couple of other girls,
Sheba and Salome.

So as a distinctly upper-class nut I now take the
privilege of naming my own favorite mad, merry Irre-
sponsibles. When it comes to insanity-with-humor they
don't make them any madder than the Bob Montgomerys
and the Chester Morrises. Recently when the Al G.
Barnes Circus was in town Bob and Betty and Chester
and Sue went to the opening performance and cracked
peanuts, which were staler than their jokes, and had a
swell time.

After the performance Bob said, "Let's stare for a
change," so they took in all the freak side-shows and
finally wound up "back-stage" with the manager and the
troupe. "Gee," said Chet "I'd certainly like to be in a
circus. You guys have much more fun than we do."
So the genial manager took the hint and invited the four
of them to come down at seven the following night and
rehearse for the evening's (Continued on page 95)

SCREENLAND

Who's eligible for membership in the
Irresponsibles Club? Some of your
pet picture stars! Read about their
gay goings-on — just good, clean fun

IT ALL happened when Bill Fields, who sports the
only double begonia beak in Hollywood, and Greg
La Cava, who directs with beer and banter, (his
latest being "Private Worlds"), got on a train one
week-end to get away from it all in Santa Barbara.
When Mr. LaCava tapped on Mr. Fields' compartment
the next morning he found a very, very wrinkled Mr.
Fields sitting on the side of his berth and morosely
drinking very black coffee. Mr. Fields was quite sad
about it all ; he couldn't change his shirt because he had
forgotten his luggage; in fact, he couldn't even get off
in Santa Barbara because quite inadvertently he had
gotten on the Chief bound for Chicago. Mr. LaCava
sat right down in the wash basin, which is a neat trick,
and had fits and convulsions.

ie Mac

Merry Set!

By Elizabeth Wilson

Charter Member of
ihe Irresponsibles

SCREENLAND

G. WELLS

talks about the

MOVIES.

Wide World

Wells, giant of contemporary literature, has some pungent
opinions about motion pictures, in this exclusive Screenland
interview, only one granted to a screen magazine.

Just a few of the many Wells books. Some
have been filmed. More will be.

G. WELLS, world-renowned author of
some of this century's most famous books,
declares :

That he intends to devote himself in
future only to motion pictures.

That he will write no more books.
That he doesn't believe either of his novels which
have already been filmed received proper treatment,
although he has great hopes for his book now in
production in the British studios.

That no movie version of a famous book can be
truthful and faithful unless the author himself is
present to supervise production.

That while England is not likely to produce bet-
ter films than America, Elstree will neverthe-
less give Hollywood a good battle.

That the movies, if properly handled, can
become the greatest instrument of cultural
education the world has ever known.

Such were the statements made by the elusive
Mr. Wells in his cabin aboard the S.S. Bremen,
just before it steamed out into New York Har-
bor, to carry its famous passenger back to Europe
after his month's visit to this country.

"No, I am not going to write any more books,"
said the moustached Mr. Wells in his thin, high-
pitched, slightly British-accented tones. "I in-
tend to concern myself in future only with
moving pictures.

"Not many of my books have been filmed," he
went on, in gruff, friendly fashion, "but I am
not the least bit satisfied with what has been
done with those two which have been produced
in pictures. If you want to know, I think 'The
Island of Dr. Moreau' as a film was terrible —

terrible ! You can print that, if you want to," he added
courageously.

"My story of the mad scientist who tried to convert
wild animals into creatures that walk and talk like
human beings — my story was handled miserably. With
all respect to Charles Laughton, who is a splendid
actor, and to the others concerned in the making of
this moving picture, which I believe you Ameri-
cans re-titled 'The Island of Lost Souls,' I must say
that it was handled with a complete lack of
imagination.

"The translation from the book to the film was so
free that it might almost have been another story. The
characters were not true. The horror element, for which

Read what H. G. Wells says about the filming of his book, "The Island
of Dr. Moreau." Above, Kathleen Burke and Charles Laughton in
the picturization, which was called "Island of Lost Souls."

for July 19 3 5

Famed Author, for the First Time,
Tells You What He Thinks About
Pictures, Particularly Those
Filmed from His Own Books

Pearl Katzman

I have never particularly aimed, pre- .
vailed throughout. No subtlety was used
in the creation of the dreadful atmos-
phere. The whole thing was so ridicu-
lously obvious that I must repeat — it was
miserable.

" 'The Invisible Man' was better —
technically. It was more exactly as I
conceived it. The casting, the acting,
the mood, the supervision — very good."

Wells was pleased with the excellent
trick photography employed to present a picture of ap-
parently empty clothes walking and moving. Claude
Rains' voice, dominating the production, carried a sin-
ister note which helped the tone of the film considerably.
The minor characters too, Wells thought, were nicely
cast. Una O'Connor and Forrester Harvey offered
good characterizations of innkeepers in a true English
countryside.

"Yes," the author admitted, " 'The Invisible Man' was
better — but even that was not what it should have
been.

"And no film can be produced correctly unless the
author of the book is present to supervise production.
Until this is permitted, producers will never learn how
to make a faithful reproduction of a novel."

Wells' reason for holding this opinion is that the au-
thor is the individual who conceived the story and the
characters. He has a definite, clear picture in his mind
of exactly how each character looks, acts, speaks. But
the words he has used in presenting these mind pictures

Acme

Of "The Invisible Man," filmed by Universal with Claude Rains and
Gloria Stuart, Mr. Wells says: "The casting, the acting, the mood,
the supervision — very good."

Hail and Farewell,
America! H. G.
Wells, v/ho said he
came over here "to
improve his mind,"
failed to visit Hol-
leywood but con-
sented to give his
views on the movies.

often produce another photograph in the reader's mind.

Thus to every reader is presented a picture which is
modified by his own understanding of the description,
and qualified by his own experiences. So it is impossible
to get a true picture of the characters as they were meant
to be, except through the author himself. He alone has
the right to select their living prototypes, since he is
their creator.

"In England, they are beginning to permit us authors
to supervise production of our own works. You will
notice that the pictures being produced over there are
infinitely better than they used to be. Shaw has super-
vised some of the film treatments of his volumes. I
similarly have been permitted to supervise production
of the film, 'One Hundred Years From Now,' which is
based on my novel, 'The Shape of Things to Come.' "
This film, directed by Korda for London Films, is
being produced with the greatest secrecy. It is to be re-
leased here through United Artists, some time next fall.
"No," Wells answered my next question, "I would
not rather have my books filmed in England.
It doesn't matter to me where they are
filmed, if they receive proper treatment. They
will never be handled properly, however, unless
I am present on the set to supervise backgrounds
and characterizations.

"Do I think English films will ever surpass
American films? Well — no-o-o. No. But we'll
run you a pace — we'll run you a pretty pace."
He looked up with a smile. "Do you know that
phrase — run you a pace?"

"You mean, they'll give us a battle?" I asked.
"Yes — run you a pace. But I do not believe
English films will ever surpass those produced
in California. Hollywood is beautiful, colorful.
Hollywood has sunshine. Hollywood has hun-
dreds of your vivid, charming American girls.
If you permit English films to surpass yours, it
will be no one's fault but your own."

As to the cultural value of motion pictures,
Wells believes that the {Continued on page 70)

SCREENLAND

amor

Gir

A new novel in which the author
of "Grand Hotel" captures the
tense drama that pulses behind
Hollywood's studio walls

By Vicki Baum

The Story So Far
Stella Harrison, just turned sixteen, slender, fair-haired and
with eyes of an ice-gray color, arrives breathless and bewildered
at the Monarch Film Studios, answering a summons by phone
from her sister Betty, an extra player, to come quickly. Some-
where, at some time in the past, Stella had been seen by Morrison,
the casting director, who orders Betty to have her sister come
to his office right away. Morrison has been commanded to find,
and find quickly, a girl that is young, fresh, lovely, the very pic-
ture of innocence, to play the leading role in a new Monarch pro-
duction to be directed by the company's ace director, Stewart.
Morrison and Driscoll, author of the forthcoming production, eye
Stella critically, and still await word from Stewart that the direc-
tor will see the girl Morrison says "is made to order" to play
the new part. Now read on :

PART II.

DRISCOLL was circling about Stella again — legs,
back, head, forehead, eyes.
"Sort of a dollish nose," he frowned criti-
cally.

Morrison fixed him with a cold stare. "You would
find something to bleat about, you four-eyed ram."

"The point is," Mecklenburg murmured, "can she
act?"

"Did you ever," inquired the casting director with
elaborate politeness, "know anyone who could act, to
begin with ?" His gaze wandered back to the girl. "She's
' got eyes, anyway."

"She's got eyes all right," the others agreed, after
which they all stood and stared at Stella again — Stella
who was wondering vaguely what they'd expected her to
have instead of eyes — Stella who had begun to sweat so
that the bridge of her nose was beaded like a slumbering
infant's with delicate drops of pearly moisture — Stella
who had locked her trembling fingers together and was
doing her best to look like Greta Garbo.

"Listen, darling — " Morrison spoke coaxingly, encour-
agingly, as to a timid young colt. "We're going to take
you down to see Mr. Stewart, and we want you to make
a hit with him. Try to get a little expression into your
face — little feeling, know what I mean ? Try to imagine

Illustrated by
Addison Burbank

— let's see — can you imagine, for instance, that you're
standing under a blossoming apple-tree? — it's spring,
you see? and here's an apple-tree with all the pretty
white flowers on it, and you're here under it. Go ahead,
try it!"

He sprang back three steps, narrowed his eyes to gain
distance and perspective — and Stella tried it. She tried
her level best. The blossoming apple-trees in her life
had been few and far between. One spring a neighbor
had taken them out toward Bakersfield to see the flowers,
but her most vivid memories of that occasion had to do
with a row, because her father, (who had been alive
then), was drunk. And Aunt Caroline had an apple-
tree in her backyard — but such a tiny one — no higher
than her breast — involuntarily her eyes dropped to her
breast and she sighed. The eyes of the three men fol-

for July 19 35

Resting herweighton herdel-
icate left hip, Stella raised
her eyes, as though drawn
by some hypnotic power,
and looked at Robin, as the
famous actor approached
from out of the shadows,
his eyes fixed on her and
her alone.

lowed hers — to the faint, shallow rise and fall of the
young bosom.

"Well," decided Morrison finally, not altogether en-
couraged by his protege's attempts at expression, "all
that'll come later."

Stewart had promised to take a look at the girl at 2 :30.
It was 4 :20, however, before he finally got around to it.
Meantime Stella did what all movie people do — she
waited. Morrison sat her down in a corner of the stage
where for a while she watched wide-eyed, as long periods
of feverish, apparently aimless activity were followed by
brief intervals of tense silence when no one, it seemed,
save the brilliantly lighted actors on the set dared do

more than breathe. Betty had left her
to go to another stage where the Sal-
vation Army scene was being shot.
With a whispered : "Do your darndest,

-it's your big chance," she
pressed a painted kiss on the cheek of
the astonished Stella — who was wholly
unaccustomed to such demonstrations
— and run off. Stella sat and waited —
heard orders yelled, an orchestra play-
ing, trills practised, arguments shouted
back and forth — and waited; saw
scaffoldings, dazzling arc-lights, little
bungalow dressing-rooms, the legs of
workers — and waited. At first her
heart pounded madly, then she began
feeling a little faint. "If I could only
have a drink," she kept moaning to
herself, afraid to ask, afraid to move, afraid to go to the
commissary. Besides, she had no money for such ex-
travagances as Coca Cola. Finally, in the midst of the
clamor and shouting, as she was figuring just what she'd
do if she could make a hundred dollars at one shot, she
drowsed off. . . .

"This is the kid," said Morrison to Stewart at 4:20.
"Feels right at home, doesn't she?" Stewart observed.
"Wake up, sister."

Raising her gold-fringed lids, Stella saw first a pair
of long, long canvas trousers, then a sweater above it,
and above that Mr. Stewart's face — a face that looked
tired but neither friendly nor hostile.

"Well ?" asked Morrison, hope and suspense struggling
for the upper hand in his voice.

Stewart described a half circle about Stella. "Hm,"
he said. Stella was still cowering in her corner. Some-
what belatedly she remarked that this was her big chance
and stood up, running her tongue rapidly over her pink
lips to moisten them — a trick (Continued on page 79)

SCREENLAND

ill Rogers'
Cinematic

Lif

Story

Wi
loo
for

his

II Rogers, left, as he
Iced when first signed
films. Above, in one of
Hal Roach comedies.

"Off-th e-record" revelations about
the public and private life of
America's homespun hero

By James M. Fidler

THE stork ushered into the screen world, during
the year 1919, a husky infant named Will
Rogers. He was born with a wad of gum in his
mouth, plus the proverbial silver spoon. Rumor
has it that he also carried a polo mallet, perched like a
pencil behind his ear.

Will literally arrived to the accompaniment of a
whistling chorus, because in his second picture, (his first
was hardly important enough to merit considerable at-
tention), he characterized a whistling, good-natured
hobo. This picture was "Jubilo" ; the first was "Almost
a Husband." The movies were silent in those days, so
theatre orchestras everywhere employed whistlers to
create the sound while the screen character portrayed by
Rogers went through the action of whistling. This was
the birth of theme music in theatres; the song "Jubilo"
was the theme employed by orchestras that accompanied
the picture.

Rogers was initially brought to Hollywood for "Al-
most a Husband" by that picker of many stars, Samuel
Goldwyn. (The producer was then president of the
Goldwyn Film Corporation ; later he sold his interests,
and subsequent mergers brought about the present
Metro-Goldwyn-Mayer organization.) Will came straight
from Broadway, where for five years he had been a sen-
sation in the Ziegfeld Follies. Mrs. Rex Beach, wife of
the noted author, was responsible for Goldwyn's action ; it
was she who first descried in Will possible screen talents.

"Jubilo" did not quite catch on with the public, after
"Almost a Husband" had proven a flop. Somehow,
Will's humor didn't register in title form; all the dry,
piercing wit that had established him as a favorite of the
New York stage was lost in silent pictures. But his con-
tract with Goldwyn forced him, at times against his bet-
ter judgment, to remain in Hollywood, and during the
next year he made "Doubling for Romeo" and "The
Strange Boarder."

He had a queer hobby in those days. He kept goats
and horses in the vacant lot back of the studio ! Lunch

for J ill y 1935

In "Life Begins at 40," left
Rogers had a congenial role

"The County Chairman," right
was a typical Rogers picture

Back in 1923, Will's favorite
sport was roping goats — below.

hours and between scenes, he would mingle with his
dumb friends. Now goats are noted for one thing —
odor. Many a lovely young actress and fastidious actor
sniffed audibly when Rogers returned from his mean-
derings among those back-lot pals.

He liked "Doubling for Romeo" the best of all his
earlier films. He says of it:

" 'Doubling for Romeo' was about a cow-hand who
went to sleep and dreamed he was the Shakespearean
hero. I liked my work a lot, but the company had a sales
convention at the studio, and though I thought the picture
was funny, nobody laughed. I was nearly heart-broken.
I felt I was a flop, and I was ready to quit."

He didn't quit. Although Goldwyn failed to exercise
his option on Rogers, Hal Roach decided that Will would
be a natural in two-reel comedies, so he offered a con-
tract that the comedian accepted. This was in 1922, and
for the next several months Will was engaged in making
people laugh via short comedies.

"We had a terrible time persuading Rogers to do any-
thing that bordered on slapstick," Roach says. "He be-
lieved he 'wasn't the type' for heavy burlesque, and we
had to battle with him to introduce 'gags.'

"The funniest situation we ever had with him was the
time he played the role of a cowboy on a dude ranch.
Supposedly, the ranch was owned by a society woman
who wanted her cow-hands to dress for afternoon tea.
Rogers drew a pair of golf knickers for his costume, and
he arrived at the studio wearing these knickers and a
pair of suspenders to hold them up. A scene was being
made showing Will with a cup of tea in one hand and
a plate of cake in the other, when the suspenders broke!
What a time he had for the next few minutes, trying to
keep those pants up ! The cameras kept grinding, and
the result was an uproariously funny sequence that made
the picture."

During this period of Rogers' cinematic life, he intro-
duced Hal Roach to polo. Rogers lived in Beverly Hills,
and he had a small practice field beside his home. There
Will and his friends would gather on Sundays, to ride,
rope, and knock polo balls around. People from every
walk of life — United States Senators to out-of-work
Oklahoma cowboys — were always welcome, and they in-
variably mixed as man to man. Rogers saw to that. He
had, (and has), no use for snobs.

People have said that Will {Continued on page 91)

"They Had to See
Paris" was Will's
first talkie. Right,
a scene with Fifi
D'Orsay from this
memorable film.

"State Fair" was
one of Will's
most popular pic-
tures. He co-
starred with
Janet Gaynor,
shown at right.

11 Doubting
Thomas," with
Billie Burke, left,
is Will's latest
film — and, some
say, his very best
to date.

SCREENLAND

Mister!

First domestic close-up of
Hollywood's happiest
"young marrieds/' Lew and
Ginger Rogers Ayres, by the
writer who knows them best

SEEMS funny to call Ginger Rogers and
Lew Ayres "Mister and Missus." Now,
don't misunderstand me ! They are very
much Mr. and Mrs. Lew Ayres, all
right ; but they have refused to grow up other-
wise.

Of course, they have taken a new home in
Beverly Hills. It is larger and more elaborate
than the hillside house Lew occupied prior to
his marriage. Naturally, they did not remain
in that house, because that is where Lola Lane
and Lew spent their honeymoon and subse-
quent few months of wedding life.

In Ginger, Lew has found the perfect com-
plement to his own design for living. Lola
Lane was entirely too social for Ayres, who
likes to stay at home amidst a small circle of
friends. He doesn't enjoy meandering around
after dark. Lola does, and that difference
was often a stormy area in the matrimonial
sea upon which they had embarked.

Ginger and Lew like the same things. In-
formal parties at home. Comfortable clothes.
A paucity of night life. They enjoy bowling,
tennis, ping-pong, week-ends in the moun-
tains, games of all kinds. Several
nights every week, they go to bowling-
alleys, ping-pong courts or such in-
formal places.

They are inordinately fond of
music, and they welcome every op-
portunity to attend the Hollywood
Bowl symphonies, the Los Angeles
operas, musical concerts, and such
occasions of fine music. This mutual
enjoyment extends into their home ;
they don't suffer the Mr. and Mrs.
Average Family's quibbles over what
radio program to tune in — if there is
fine music on the air, they both want
to hear it.

They live modestly. They employ
only two servants, a colored couple.
Ginger and Lew drive their own cars,
two modestly priced coupes. The
wear and tear on their clothes is un-
important, because as a rule Ginger
dons sport or house pajamas, while
Lew lounges at his best in flannel
trousers, open-neck shirt, and, if the
weather is chilly, sweater. Of course,
on those occasions when they do "step
out social," they dress correctly.
There are no two young people in
Hollywood who can wear clothes
with more nonchalance and proper

Lew looks like a boy, and he isn't really
very much older than that; but he is
screenland's most devoted husband, nev-
ertheless. Left, Lew and his bride just
after the wedding.

poise and carriage than Ginger and Lew.

They are both money-wise ; they realize
that dollars do not grow on trees. A
portion of every dollar they earn goes
"into the sock." Safe and sane invest-
ments get these dollars. Ginger and Lew
are content to achieve financial indepen-
dence moderately fast ; getting rich quick
does not interest or fool them.

Household or business expenditures
that entail more than ordinary sums of
money are discussed seriously between
them. Of course, they don't call a con-
sultation every time they want to make
personal expenditures, because they earn
separately and neither questions the
other's method of spending his or her own
salary. Only on their community invest-

for July 19 3 3

Ginger, the dancing sensation of "Ro-
berta" and "Top Hat," shown at right
with Fred Astaire, her co-star, is a home-
loving wife in private life, as this intimate
story tells you.

ments or like expenses do they confer.

They live for fun ; not for artificial
excitement. Most of their weeks follow
the same general pattern. I mean, they
don't live a very varied life. This week
they may bowl on Monday, for instance,
and next week they may bowl on
Wednesday, and the week following they
may not bowl until Friday, but it is a safe
wager that they will bowl at least one
time during every week. So, with other
habits. Now that this has been explained,
let me guide you through a typical
Rogers- Ayres week :

MONDAY : If Sunday was a very
active day, Monday night will likely be
quiet. There may be a friend or two for
dinner, strictly informal. Or perhaps

Missus

James Marion

Lela Rogers, Lew's mama-in-law, (and such
a nice one !), will adorn their board. Nothing
more exciting than music succeeds dinner.
Lew has a library of fine phonograph record-
ings by the world's most famous symphonic
orchestras, and the chances are, if you call
on a Monday, you will hear Stokowski render
a brilliant suite.

TUESDAY: Ah, the Ayreses rested on
Monday ; tonight they are ready to go places !
Since one night of this "sample week" is to
be devoted to bowling, why not Tuesday?
Their favorite alley is in Beverly Hills, not
far from their home. Once I accused them of
choosing their particular house because of the
proximity of that bowling alley.

Ginger is a good bowler ; if she had more
time to practice, she might be an expert.
Occasionally she beats Lew. When that hap-
pens, he turns all shades of red, tries a little
too hard, and consequently fails to bowl his
best. You see, Lew is of the old school that
believes it is actually indecent for a woman
to defeat a man at any sport.

They rarely bowl alone. Gary and Sandra
Shaw Cooper, Janet Gaynor, Bruce
and Adrienne Ames Cabot, Andy
Devine, Johnny Weissmuller and
sometimes the excitable Lupe Velez,
have all become bowling fans, per-
haps due to Lew's enthusiasm. Movie
fans in search of autographs are over-
looking real opportunity when they
fail to visit that bowling alley on
Wilshire boulevard in Beverly Hills
— Lew or Johnny or Gary will likely
kill me for this revelation.

WEDNESDAY: One night each
week is devoted to a general "drop-
in" party. Nobody dresses for the
occasion. Ginger and Lew simply say
to a few friends, "Come around to
the house tonight." Those friends
bring along an acquaintance or so.
Sports pajamas and old clothes are
the order of dress. If the gang comes
for dinner, food is served buffet.
Usually, the group includes Phylis
Frazer, (Ginger's cousin), Ben Alex-
ander, Andy Devine, (one of Lew's
intimates for years), Billy Bakewell,
Russell Gleason, and a few others not
so closely identified with the movies.

Kid games are the order of the eve-
ning. Marathon tiddledy-winks, for
example, (Continued on page 74)

SCREENLAND

Marion Davies

Page

PRIZES

FIRST PRIZE: Auburn New 1935 Convertible Salon
Phaeton Sedan. Pictured below. Approximate Retail Value
$ 1 800.00.

SECOND PRIZE: Atwater-Kent 8-Tube A.C. World-
Wave Console Radio.

3 THIRD PRIZES: (small) Atwater-Kent Radios.
15 FOURTH PRIZES: Electric Toasters.
50 FIFTH PRIZES: Helena Rubinstein Compacts.
100 SIXTH PRIZES: Hostess Sets.

100 SEVENTH PRIZES: Subscriptions to Screenland
Magazine.

Miss Glory
Contest!

Prizes for your ideas! Create
the world's most alluring girl
by blending the loveliest
features of Hollywood's en-
trancing stars in one adorable
composite beauty!

RULES OF THIS CONTEST

1. Fill out coupon (either the one printed on opposite page,
or the coupon published in connection with the first step of the
contest in SCREENLAND for June, 1935, the previous issue).
After you have selected the nine stars you nominate to supply
the features requisite to create the Most Beautiful Composite
Girl, and entered their names in the spaces allotted on the coupon,
write an essay detailing your reasons for the selections made;
essay not to exceed 2 00 words as outlined on opposite page. Re-
tain both the coupon and your essay. The August issue of
Screenland, on sale June 2 5, 193 5, will contain the third and
final step. Then mail your entry covering the complete contest.
Judges of the contest are: Mr. Mervyn LeRoy, famous Warner
Bros, director; Mr. Charles Sheldon, noted artist; Miss Delight
Evans, Editor of SCREENLAND.

2. This contest will close at midnight, July 24, 193 5.

3. In event of ties, duplicate prizes will be awarded.

4. Mail entries to: Marion Davies Contest, SCREENLAND, 45
West 45th St., New York, N. Y.

Pictured, above, is the first prize in our Marion Davies Contest: Auburn new 1935 Convertible Salon
Phaeton Sedan. Approximate retail value $1800.00. Includes extra wheels and de luxe equipment.

for July 19 33

Second step of a great contest!
Enter now! Join in the fun!

HERE is the most fascinating challenge to
your ideas of feminine beauty and your
knowledge of screen stars. Prizes of ex-
traordinary value await the practical appli-
cation of your very own conception of how
the world's most beautiful Composite Girl
can be created by blending in one adorable
creature the loveliest features of nine of
Hollywood's most alluring screen stars. You
simply name the stars whose individual fea-
tures you consider the most beautiful, enter-
ing each name, opposite the feature indicated,
on the blank below. Thus you suggest the
elements which would produce the Com-
posite Girl; selecting, let us say as an exam-
ple, Jean Harlow, or Kay Francis, to supply
the hair; Garbo or Hepburn, for the eyes;
Dietrich or Del Rio, for the legs; and so on.

At the right is a photograph which may
serve to spur your imagination. But, re-
member, there are no restrictions as to which
nine stars you select to supply the required
features. You are absolutely free to pick
any nine stars whose features you believe
would blend to make the most beautiful
Composite Girl, made up of the hair, eyes,
nose, mouth, arms, hands, hips, legs and feet
that are the most beautiful you have seen
on the screen.

That is the first step. The second step
is equally simple. Simply write not more
than 200 words, setting forth your reasons
for the selections you have made.

As an aid to your best creative efforts in
making your selections, we suggest you read
the interesting fictionization of "Page Miss
Glory," currently appearing in SCREEN-
LAND, since the plot of this romantic
screen-play revolves about a Composite Girl,
and serves as Marion Davies' first starring
vehicle under her new Warner Bros, con-
tract. In addition to its interest as absorb-
ing fiction soon to be seen in action on the
screen, "Page Miss Glory" may give you
background and stimulate ideas which will
enable you to make the most of your ability
to create the Most Beautiful Composite Girl.
Then watch for the next issue, containing
the third and final contest step, and the
conclusion of the story of "Page Miss Glory."

Above, some
beauties you
might select to
make the Com-
posite Girl —
but you needn't
restrict yourself
to these partic-
ular stars for
your composite.

My selections to make up Hollywood's Composite Girl are as
follows:

HAIR

EYES

MOUTH

NOSE

ARMS

HANDS

HIPS

LEGS

FEET

Left, handsome
Atwater - Kent
World-Wave
Console Radio,
second prize.

Name

Street Address.
City

State

SCREENLAND

Continuing

PAGE

What happens when an every-day
girl suddenly finds herself famous?
Read this story of unexpected
romance that is always waiting just
around the corner for all of us

Loretta, the chambermaid
(Marion Davies), actually
meets the object of her affec-
tions, Bingo Nelson, the fa-
mous aviator [Dick Powell).

Click Wiley (Pat O'Brien),
hears the radio announcement
of the winner of the beauty
contest and learns that she is
his candidate, "Dawn Glory."

Resume of Preceding Chapter:
Loretta, (played by Marion Davies), a small-town girl who came to New
York in search of a job, finds herself involved in unexpected happen-
ings when she finds employment as a chambermaid in one of Manhattan's
great hotels. Click Wiley, (Pat O'Brien), a smart promoter, and his pal,
(Frank McHugh), enter a composite photograph, blending the loveliest
features of famous screen stars, in a contest to find the Most Beautiful
Girl. Loretta 's dream hero, Bingo Nelson, (Dick Powell), the famous
aviator, a friend of Click's, drops in, sees the photograph of the composite
girl, whom Wiley has christened "Dawn Glory," and promptly falls in love
with her, while Loretta worships him from afar. Bingo, about to take
off on another hazardous flight, takes a photograph of "Dawn Glory" with
him for inspiration. Meanwhile Click awaits the radio announcement
which will tell him if his creation, "Dawn Glory," wins the contest.

PART II

^HE suspense of a soldier rooted in a muddy trench
anticipating the zero hour was as nothing to the travail
Click went through waiting for the radio to disclose his

fate.

"Remember, there's no better aid to beauty than the regular
habit of taking Nemo Yeast . . ."

The clipped British accent of the announcer that had come
to him in some mysterious manner by way of Wilkes-Barre,
Pa., droned on as casually as though three people's lives were
not hanging in the balance. Another moment would tell if all of
them, Click and Ed and Gladys, would-be deposited unceremoni-
ously in front of the Park-Regis Hotel with their luggage held
as hostage— or if they would be in the money again.

"And now the winner of the beauty contest and the twenty-
five hundred dollar prize . . ."

A second that somehow embraced an eternity and Click
dropping from the top of the Empire State Building and soaring

for July 19 35

MISS GLORY!

Fictionized by

Elizabeth Benneche Petersen

From the Warner Brothers picture starring
Marion Davies, with a cast including Dick Powell,
Pat O'Brien, Frank McHugh, and other players.
Directed by Mervyn LeRoy. From the stage play
by Philip Dunning and Joseph Schrank. Screenplay
by Robert Lord and Delmar Daves.

Click coached Loretta and
she repeated the words:
"This is Dawn Glory speak-
ing. I'm the happiest girl
in the world today!"

Loretta went around in a
dream, her thoughts in the
clouds with Bingo. And then
she read that he was safe;
and that he gave "Dawn
Glory" credit as his in-
spiration. The beautiful
dream was over!

To Bingo,
"Dawn Glory"
was real, as
real as moon-
light and stars
and Spring —
in short, he
loved her

up again and Ed's mouth contorted in a sick grin and Gladys
swallowing her gum in her excitement. And then the casual
voice of the announcer again.

". . . Goes to Miss Dawn Glory in care of her guardian, Mr.
Daniel Wiley!"

The glamorous girl of the composite photograph had turned
into Lady Luck. Dawn Glory, the girl who had never been
born, had sent them all skyrocketing into a fortune !

But to Bingo, Dawn Glory was real, as real as moonlight
and stars and Spring. The first time he looked at her pictured
loveliness it was as if he had heard her voice and her laugh.
By the time he reached the airport it was as if he had held her
in his arms and known the flower smoothness of her cheek ; as
if he had felt her heart beat against his own.

"Who's the gal, Bingo ?" asked one of the reporters covering
the take-off of the plane that was flying the life-giving serum
to the Alaskan Quadruplets.

"Dawn Glory. My sugar." Bingo took another ecstatic look
at the photograph stuck on his windshield. "She'll be waiting
for me when I come back. And listen, you guys, she reads the
papers. Put in that I love her, will you?"

"Yeah!" One of the newspapermen laughed sardonically.
"We'll end your obituary that way. You really think you're
coming back from this flight? You're committing suicide!"

"If you had her to come back to would a blizzard stop you?"
Bingo demanded as he threw a kiss towards the picture. "She's
my good-luck charm. S'long, boys." He smiled impudently
as he slammed the door. "Next stop, Alaska!"

Loretta had that quick glimpse of (Continued on page 87)

Screen land

hange!

Hollywood and England are
trading talent! Here's the
first exclusive story of the
great new movie gold rush
which is luring so many of
our best actors to London

The lovely Helen Vinson, one of the first Hollywood
luminaries to leave for London, discusses her reasons
for accepting British film offers in this authentic story.

STRANGE goings-on in Hollywood these days,
mates !
The eyes of American movie stars are turned
East, not West, for the first time. Beverly Hill-
billies are buying new luggage, tuning up their broad-
A's, getting used to toasted scones, and practising that
crook of the little finger which denotes real class over
the tea-pot.

For a great mass movement of native movie actors
on London is under way. The tide flows back again.
Where once we used to receive a daily shipload of
monocled mummers from Blighty, now we are trans-
porting a huge herd of our best and fairest film folk
to perfidious Albion, F.O.B. the Brown Derby.

This terrific trek, this horrendous hegira can be laid
at the door of one Mr. Michael Balcon, Mickey to his
pals and a walking ticket-office to our film actors. Mr.
Balcon, an English film spy in the pay of Gaumont-
British Pictures, has been thrusting through Holly-
wood like a naked sword, cutting off stars right and
left.

The boy from Britain is a fast talker, and his foun-

By
Leonard
Hall

Michael Balcon, of Gaumont-
British, who journeyed to Hol-
lywood to sign up some of our
stars for films to be made in
England. Left, Mr. Balcon with
Mrs. Balcon.

Richard Dix, left, and Boris
Karloff, two fine actors who
are Britain-bound.

for ] uly 1935

tain pen is always full of ink. Before they could scream
feebly for help, he had signed up Boris "Boo!" Karloff,
Madge Evans, Helen Vinson, Noah Beery, Maureen
O'Sullivan, and Richard Dix, with other precincts still
to report ; and one by one they are being ferried across
the Atlantic to labor in the movie studios of Gaumont-
British — situated in Shepherd's Bush, twenty minutes
from London.

I dessay that within six months' time our American
stars will be in London, and the lads and lassies from
Britain will be in Hollywood — thus setting up that per-
fect artistic state of Hams Across the Sea. At any rate,
this is what Balcon has done, and the reason for his
fiendish body-snatching is not obscure. Gaumont-
British, releasing sixteen films in the States this season,
discovered that British movie names do not draw tup-
pence ha'penny at our box-offices. Inasmuch as they
hope to peddle another sixteen to our peasantry next
year, it behooves them to stud their movies with names
and faces we know and like. Hence the dispatch of
Michael Balcon to Hollywood — check-book, pen, and
gift o' gab.

So tearful ta-tas are being said in Hollywood. Papa
is leaving Mama, Mama is being torn from the tots by
the ruthless hand of this Balcon. They face a long,
cruel journey (first class), across the tossing Atlantic,
and a long term of penal servitude in the film foundries
of The Motherland.

True, this tragedy of shattered homes has its sunnier
side. Some of our actors are going to get their sticky
hands on a mass of these nice British Pounds Sterling,
about which we hear such nice things. Inasmuch as for
many years our British cousins have been coming over
here and grudgingly accepting huge wads of our mere
dollars, it is quite jolly to think of some benighted Yanks
poking their paddies into the British jam-pot!

But what of our friends, these dear actors who are
going on that long, dangerous trip into the Unknown,
alone — save for mothers, maids, and valets?

The other day, eluding the vigilant body-guards of
Gaumont-British, I obtained, at great personal risk, an
interview with one of the very (Continued on page 66)

Fay Wray made
the long, hazard-
ous trek from
Hollywood to
London. Brave
girl — smart, too!

Madge Evans,
one of the in-
trepid pioneers.
Cheer up —
Madge's English
pictures will be
shown over here.

from ' u men rm pampas moon '

BAXTER
/(^'GALLIAN

in a fiery romance

'UNDER THE
PAMPAS MOON'

A B. G. DeSYLVA PRODUCTION
with

TSTO GUIZAR

Radio's Troubadour of Love

VELOZ and YOLANDA

internationally renowned Artists of the Dance I
Directed by James Tinting

ACCLAIMED BY SOCIETY ON
TWO CONTINENTS, VELOZ and
YOLANDA bring their superb
talent to the screen in a breath-
taking creation, the exotic
COBRA TANGO.

BY JERRY HALUDAY

He rides like the wind and
loves like the whirlwind!

Carramba, but this is one grandioso picture!
And as for Warner Baxter . . . ah, be still, flut-
tering heart. What a man! What a lover! He's
even more tempestuous than as "The Cisco Kid".
So prepare for fireworks when Baxter, a gallant
gaucho with the swiftest horse, the smoothest
line, the stunningest senoritas on the pampas,
meets a gay m'amselle from the Boulevards of
Paree! And to add to the excitement, there's a
feud, a stirring horse race, a glamorous cabaret
scene in romantic Buenos Aires.

If your blood tingles to the tinkle of guitars . . .
if your heart thrills to the throbbing rhythms
of the rhumba, to the passionate songs of the
gauchos, to the sinuous tempo of the tango, then
rush to see this picture — and take the "love
interest" ivith you!

"Your fragrance is like
a garden. Your mouth
a red carnation. And
your lips, oh, your lips,
to kiss, to kiss again."

HOLLYWOOD NOTES

FLASH! The cinema capital is playing a new
game called the "Triple S" Test . . . studio,
star, story. Fans rate a picture on these
three counts before they see it. Then they
check their judgment after the performance.
And it's amazing how high Fox Films rank!
• But then, that's to be expected. For Fox
Studios have the ace directors, the leading
writers, the biggest headline names. • So
take a tip from Hollywood . . . when you
look for entertainment, look for the name

ft *

THAT'S NEW
N HOLLYWOOD?

Gfriwie*

We're Showing You Here! First, The Gay New Garbo!

GRETA is a girl again! In her new picture, "Anna Kar-
enina," she plays at croquet and coquetry and charms
us as of old. Close-ups show her with Freddie Bartholomew,
who plays her son; and with Fredric March, her leading man.

Generous Joan shares
her glory with Boh
Montgomery, Ed-
na Mae Oliver,
Franchot
Tone and
Charlie
Ruggles

Presenting
the

Hepourn!

Cycl onic Kate, the pride of
Hartford and the terror of
Hollywood, Has a grand new
lead tng man, Charles Boyer;
and a brand new personality!

The inspiring new hero of screenland's most
hectic heroine: left, Charles Boyer, the fine
French actor who plays opposite Hepburn in
"Break of Hearts," below.

Alex Kahle

Cake and candy for the mem-
bers of the cast! Katharine
was in high good humor while
making this new picture, as
the picture at right proves.

Comedy scenes such as you see below brighten
the poignant drama of "Break of Hearts," in
which Charles Boyer and Hepburn appear as
honeymooners.

■ V*7

Ik.

When two such potent personalities and power-
ful troupers as Hepburn and Boyer combine
their talents in a single picture, watch out!
"Break of Hearts" presents a more human
Hepburn and a more menacing Boyer.

Stranded1

IOOKS as if he likes it! Well, it's only the name of his n'.
-* picture, which co-stars Kay Francis, left, and gives Geoi?
a cherished chance to break out of the drawing-room a)-

into the open.

Warner Baxter in

ie Most Beautiful Still of the Month

JNDER the Pampas Moon" iprovides Baxter with a colorful
part as picturesque as his memorable "Cisco Kid." His lead-
i ; woman is the piquant French actress, Ketti Gallian, shown at

the right.

Del Rio DANCES!

Of all the Raft of "Valentino boys," it
looks to us as if Don Carlos, shown
here with Del Rio, is the most promising
candidate for Latin glory.

Don Carlos, elevated from the chorus
to the coveted job of Dolores' dancing
partner, shown below with the star and
director Busby Berkeley.

I- *4i

'In Caliente" she's at her
loveliest, and — attention,
{iris ! — Dolores discovers
mother "new Valentino"

All Photographs Made Ex-
clusively on the "Galiente"
Set for S c u ben land by
Bert Longworth, Warner Bros.

"College Scandal" — but who believes in
movie titles, anyway? Paramount's nice
collegiate quartette, above: Arline Judge,
Kent Taylor, Wendy Barrie, Johnny Downs.

Wendy will win him
over! Next scene
will show Johnny
Downs cheered up.

Arline and Eddie
Nugent demonstrate
the value of the
higher education.

Pity poor Paul Lukas! To earn his
meager salary he must make love all day
to Madge Evans. It's a hard life these
movie actors lead! The scene below is
from "The Age of Indiscretion."

Well, this is more like it! John Boles
and Dixie Lee really seem to be enjoying
their work in "Redheads on Parade."
Mrs. Bing Crosby becomes a redhead
just for this Fox picture. Mr. Boles
flatly refused to dye for his art.

Nautical1^

But OK;

So Nice

Only Carole Lombard
could wear this perfectly
crazy hat, but isn't it
fun? Count on Carole
for the very latest — see,
below, her white linen
beach coat. A long coat
for the beach is high
summer style.

William 'Walling, Jr.

Smart and salty! Pa-
tricia Ellis, above,
sounds the nautical
note with the small
sailor collar and rope-
trimmed belt of her
white and navy frock.
See the chain trimming
on the circular jabot.

Margaret Lindsay,
right, achieves crisp
chic in her white sports
dress. High fashion
notes: the brown wood-
en buttons right down
the front; the patch
pockets; the brown and
white dotted scarf.

Scotty Welbourne

Jean Parker, left, simply shimmers in
her smart new swim suit of black cello-
phane, with its demure round neck in
front, and a low sun-tan back.

rep hen McNulty

Study in chartreuse! Mary
Carlisle, right, wears a new
heavy rib suit in chart-
reuse with deep green trim-
ming. The multi-strand
straps and the braided belt
are of fashion interest.

Sun Fun!

The bathing suits worn by Miss Jean
Parker, Miss Mary Carlisle, and Johnny
Weissmuller, M-G-M stars, are by B.V.D.

Look to Hollywood Belles
— and a Beau — for the
Latest Beach Fashions

Johnny Weissmuller selected this suit he
is wearing here, of navy blue and white.

Scotty Welbourne

Carney
Cleans Up!

BOTH in his new characterization and at the box office! For in
his latest film, "G-Men," the ex-Public Enemy becomes the Public
Defender, and audiences who came to cringe remain to cheer. On
the side of right, Jim still packs the meanest wallop in pictures!

He-Ma n
of Song !

Nelson Eddy tells what
happens when a concert
artist goes in the movies

By Tom Kennedy

"One-picture" star Nelson
Eddy, above, in close-up
as himself, and at right
with Jeanette MacDonald
in "Naughty Marietta."

'M NOT good copy! You
know, very normal life and all
that sort of thing ; and that's
not the stuff of which head-
lines are made. Why, I never even
fell off a horse !"

Nelson Eddy, a six-footer with a
massive, finely formed head set
squarely on a pair of husky shoulders,
and a voice that's very deep-toned
and richly authoritative, was telling
us. This brand new star of the
screen is one of the most powerfully
built actors you ever met, and, tradi-
tion of the recital platforms being
what a long line of heavily-girthed
tenors and baritones have made it,
certainly a chap you'd associate with
conquests on the football gridiron
rather than the concert stage.

Eddy's strapping physique is the
first thing that strikes you about his
appearance. The second is his very
blond coloring — hair that is straw-colored and shot
through with strands that are almost lacking in color ;
very fair complexion; eyes that are of blue and of a
light cast but, in contrast to the mane of blond hair,
and white skin, they seem rather dark.

Having plenty of what it takes to stand up under hard
work is quite an asset for a chap who has been filling
one of the busiest concert engagements ever attempted ;
railroading zig-zag fashion across the East, Middle West
and South, since completing his first important picture
engagement in "Naughty Marietta."

He didn't seem tired; just relaxing as he sprawled on
a green divan and talked about screen acting, concert,
opera and radio singing.

"I suddenly find myself being considered an actor,"
lie was saying. "Well, I didn't know I was an actor. I
have had lots of experience on the stage doing opera and
light opera like Gilbert and Sullivan parts, but that calls
for 'broad' treatment, exaggeration of expression and
gesture. I was first signed for pictures because of my
singing, and nobody in Hollywood looked upon me as a

potential actor, which didn't surprise me in the least.

"As a matter of fact, until I made 'Naughty Marietta'
very few out there looked upon me as anything, singer
or actor. However, when I get back to Hollywood I'm
starting from the present, and forgetting the sometimes
heart-breaking neglect and lack of any recognition what-
soever. But I improved my time — I studied Russian
and added an operatic role to my repertoire. Moreover,
I guess 'Naughty Marietta' was worth waiting for."

The remarkable thing is that practically the only people
who did give Eddy a tumble in Hollywood were those
who had to express their respect in terms of cash. That
is to say Eddy's champions for two years during which
he was practically idle, save for singing a song or so—
he did his first for "Dancing Lady" — were the M-G-M
chiefs who originally signed him and took up his options
as they came along. (Continued on page 97)

SCREENLAND

W. C. FIELDS'

Fields in Growth and Bloom! Con-
tinuing the Actual Adventures of the
Famous Comedian, Whose Real Life
Has Been More Fascinating, and
Amusing Than Any Fiction

By Ida Zeitlin

IISTENING to Bill Fields talk of his
European adventures — just listening
j to Bill Fields talk, for that matter — is
a treat to the ear and spirits. Lan-
guage— fruity, luscious language, much of it
too picturesque for reproduction — rolls effort-
lessly from his tongue. Hilarious asides pop
unexpectedly from his solemn fagade. Whether
the story ends well or badly for him makes little
difference. If anything, he tells the latter with
a keener zest. Walking up and down in front
of you, his blue eyes now mild, now kindling,
he's likely to make you the villain of the piece,
turning to glare or even to point an accusing
finger at you as his voice mounts to a sonorous
climax, then drops into low with some casual
absurdity.

"I got acclaim in Europe," he says, "and I
got kicked in the pants. I rode the crest and
I rode the rails. All right, I didn't ride the
rails, but it sounds pretty snappy, doesn't it — ■?"
his tone was aggrieved, "and besides, it gives
you the general idea. Tops today, bottoms
tomorrow — " he gestured carefully, as one who
explains a major problem to a child not alto-
gether bright.

"For instance, I was playin' the Winter Gar-
den in Berlin. I'd played this same Winter
Garden before and made a smash hit. This
time I didn't get a tumble. My act was as good
or better. They just didn't like me. Maybe it
was because I followed a horse act. Maybe
they figured the horse could've done my tricks
better.

"I went from there to Copenhagen — and that
reminds me. You know, in the old days all we
artists — the word's artist — " he warned me,
looking over my shoulder, "be sure you get it
down right — all we artists used to hire claques
— a bunch of kids, generally, to start the ap-
plause in case the audience went coy on us.
Well, one day I went back to pay this claque

Step right up, folks! What'll you have? At that, hos-
pitable Bill Fields would love to entertain all his fans in
person, only his seven-acre Encino Ranch wouldn't begin
to hold you all!

for July 19 35

REAL LIFE STORY

off, and one of the varmints pipes np : 'Could I have an
autographed photo instead of the money?' So I gave
him a photo and a pat on the head for interest and told
him he'd go far. Not long ago at a Hollywood party, a
fellow gets up and starts doin' a trick of mine that I
hadn't done in years. 'Where d'you learn that?' I asked
him. 'In Copenhagen,' he grins, 'when you gave me a
photo for clappin' so nice and loud.' It was Carl Brisson.
I told him," said Fields complacently, "that's he'd go far.

"Well, anyway, there I was in Copenhagen. I had a
date to go from there to Vienna. It was a whale of a
distance, and I asked the agent if he could get the date
changed. Not only could he get it changed — wait, I'm
not tellin' this right. 'Listen,' he says, 'the Vienna mana-
ger caught your act in Berlin, and he didn't like it. Says
he'd rather have the horse. Wants to know what you'll
take to break your contract.' " Hands in his pockets,
Fields paused and looked at me as though I'd stolen the
last penny from his little tin cup. "Ever have an experi-
ence like that?" he demanded. "It's an internal earth-
quake, it's the end of the world, its hell. Here you think
you're king of the roost and babies cry for you, and all

of a sudden you're a frost. I told 'em I'd take five hun-
dred for the contract, and for two weeks I suffered as I
never suffered before.

"But that's not all of it. In Copenhagen I made the
biggest hit maybe I'd ever made in my life. Then I
looked around for another date and couldn't get one. I
wrote letters and I sent cables and for all the good it did
me, I could've given my money to a Home for Wayward
Crocodiles. I was through. I was dead. I was finished
in the whole world. Why ? She asks me why ! I haven't
figured that one out yet, sister.

"So I went to London. I figured maybe if somebody
saw me around, it'd give 'em an idea. And I figured
right. One day on the street I bump into a manager.
'What're you doin'?' he says. 'Goin' to America,' I told
him. 'Got a big contract. I didnt have a contract and I
wasn't goin' anywhere but straight to pot with nerve
strain. T could use you here," says this guy. So I put
on the high hat. T wrote you and I wired you from
Copenhagen,' I said. 'Now I'm goin' to America.'
'Couldn't you cancel it?' 'Sure I could, but you know
they don't pay chicken-feed over there. Raise the ante
and give me a 20-week guarantee, and I'll cancel it.' Til
give you thirteen,' he says. 'Twenty,' I told him. So he
gave me twenty and I packed 'em in. And that's the story
of this whole cockeyed game in a nutshell.

"But for all my success in London, I couldn't get over
bein' cancelled in Vienna. Nuts to Vienna, I kept tellin'
myself, but it did me no good, knowin' Vienna'd said nuts
to me first. One night the {Continued on page 82)

SCREENLAND

W. C. FIELDS'

Fields in Growth and Bloom! Con-
tinuing the Actual Adventures of the
Famous Comedian, Whose Real Life
Has Been More Fascinating, and
Amusing Than Any Fiction

By Ida Zeitlin

IISTENING to Bill Fields talk of his
European adventures — just listening
a to Bill Fields talk, for that matter — is
a treat to the ear and spirits. Lan-
guage— fruity, luscious language, much of it
too picturesque for reproduction — rolls effort-
lessly from his tongue. Hilarious asides pop
unexpectedly from his solemn fagade. Whether
the story ends well or badly for him makes little
difference. If anything, he tells the latter with
a keener zest. Walking up and down in front
of you, his blue eyes now mild, now kindling,
he's likely to make you the villain of the piece,
turning to glare or even to point an accusing
finger at you as his voice mounts to a sonorous
climax, then drops into low with some casual
absurdity.

"I got acclaim in Europe," he says, "and I
got kicked in the pants. I rode the crest and
I rode the rails. All right, I didn't ride the
rails, but it sounds pretty snappy, doesn't it — ?"
his tone was aggrieved, "and besides, it gives
you the general idea. Tops today, bottoms
tomorrow — -" he gestured carefully, as one who
explains a major problem to a child not alto-
gether bright.

Step right up, folks! What'll you have? At that, hos-
pitable Bill Fields would love to entertain all his fans in
person, only his seven-acre Encino Ranch wouldn't begin
to hold you all!

for July 19 35

REAL LIF

STORY

off, and one of the varmints pipes up : 'Could I have an
autographed photo instead of the money?' So I gave
him a photo and a pat on the head for interest and told
him he'd go far. Not long ago at a Hollywood party, a
fellow gets up and starts doin' a trick of mine that I
hadn't done in years. 'Where d'you learn that?' I asked
him. 'In Copenhagen,' he grins, 'when you gave me a
photo for clappin' so nice and loud.' It was Carl Brisson.
I told him," said Fields complacently, "that's he'd go far.

Below, the comic genius
of "David Copperfield"
and "Mississippi" shown
out of character, at
home. Believe it or not,
Bill Fields is a home-boy
at heart!

of a sudden you're a frost. I told 'em I'd take five hun-
dred for the contract, and for two weeks I suffered as I
never suffered before.

"But that's not all of it. In Copenhagen I made the
biggest hit maybe I'd ever made in my life. Then I
looked around for another date and couldn't get one. I
wrote letters and I sent cables and for all the good it did
me, I could've given my money to a Home for Wayward
Crocodiles. I was through. I was dead. I was finished
in the whole world. Wrhy ? She asks me why ! I haven't
figured that one out yet, sister.

"So I went to' London. I figured maybe if somebody
saw me around, it'd give 'em an idea. And I figured
right. One day on the street I bump into a manager.
'What're you doin'?' he says. 'Goin' to America,' I told
him. 'Got a big contract. I didnt have a contract and I
wasn't goin' anywhere but straight to pot with nerve
strain. T could use you here," says this guy. So I put
on the high hat. T wrote you and I wired you from
Copenhagen,' I said. 'Now I'm goin' to America.'
'Couldn't you cancel it?' 'Sure I could, but you know
they don't pay chicken-feed over there. Raise the ante
and give me a 20- week guarantee, and I'll cancel it.' 'I'll
give you thirteen,' he says. 'Twenty,' I told him. So he
gave me twenty and I packed em in. And that's the story
of this whole cockeyed game in a nutshell.

SCREENLAND

Les Miserables— United Artists

HERE is the most important motion picture to be seen
on the screens today. Darryl Zanuck deserves all our
applause for producing Victor Hugo's masterpiece in a
magnificent manner. "Les Miserables" is not a picture
to be caught as a time-killer ; it is a full evening's entertainment,
an honest, dignified, impressive effort to bring three generations
of theatre-goers into the screen palaces, and to hold them there.
Thanks to the painstaking direction and the spirited cast, it suc-
ceeds. The saga of Jean Valjean has been translated in terms of
robust action, stirring pictures, splendid characterizations. The
relentless pursuit of Jean by J avert, from the galleys through the
sewers of Paris, to the very end, is conscientiously recorded. The
"first phase" of Jean's life interested me most, because of all the
actors, next to Frederic March as Jean, Sir Cedric Hardwicke as
the Bishop was most impressive — a superb performance. Charles
Laughton caricatures Javert, making him more eccentric than
formidable. Rochelle Hudson is the rather colorless Cosette.

< -OF) \

Reviews

of the best

Pictures

The Scoundrel — Paramount

THE most controversial picture of the month ! Marking
Noel Coward's screen debut, the latest inspiration of
wonder-boys Ben Hecht and Charles MacArthur is an
important contribution to the cinema. (We call it the
"cinema" when names like Mr. Coward are involved). "The
Scoundrel" is different, I promise you; its flavor is distinctly
cosmopolitan, with not a single smack of Hollywood; subtle;
sophisticated — yet somehow refreshing, with a definite spiritual
quality not hitherto associated with Messrs. Coward, Hecht, or
MacArthur. (Could Helen Hayes have been hanging around, I
wonder?). As a conscienceless publisher whose motto seems to
be "Read 'em and ruin 'em — and run," Mr. Coward gives a stun-
ning performance, unique for its remarkable blend of satire and
haunting charm. He breaks hearts right and wrong, but never-
theless manages to capture your sympathy and keep you con-
cerned as to his fate. And such a fate" The story is too good
to keep but too tricky to tell. See it. Julie Hay don as a young
poetess "published" by Coward is exquisite. She'll go far.

Star of Midnight— RKO-Radio

THIS is fun! Light, clever, and with that "Thin Man"
appeal. Yes — William Powell, none other, again up to
his fascinating philandering and smooth sleuthing ; and
this time with a charming new screen sweetheart, Ginger
Rogers, latest of our movie beauties to turn interesting. In fact,
this is quite definitely as much Miss Rogers' picture as it is Bill's;
and I think from now on the Misses Loy and Harlow will have
to look to their laurels if they want to keep Mr. Powell safe on
the home lot. "Star of Midnight" presents our William as a
shrewd and successful lawyer who becomes involved in a nice,
juicy murder mystery because the columnist-corpse chooses the
lawyer's apartment to be murdered in. Very thoughtful of him,
and our ex-Philo Vance doesn't disappoint. He solves the mys-
tery, but not before he has us all, including Miss Rogers, pretty
jittery with suspense. The dialogue sparkles; the plot is never
permitted to intrude too much. And Mr. Powell reminds us that
he is, bar none, the most consistently charming man on the screen.
Yet he never seems to be working at it — that's art!

for July 19 3 5

MOST IMPORTANT PICTURE:
"LES MISERABLES"

MOST UNUSUAL: "THE SCOUNDREL"

MOST EXCITING: "G-MEN"

MOST IMPRESSIVE PERFORMANCES:
Fredric March, Sir Cedric Hardwicke
in "Les Miserables"

MOST CHARMING PERFORMANCE:
Noel Coward in "The Scoundrel"

MOST DRAMATIC PERFORMANCE:
James Cagney in "G-Men"

DISCOVERY OF THE MONTH:
Julie Haydon in "The Scoundrel"

G-Men— Warners

JAMES CAGNEY'S best performance since "The Pub-
lic Enemy" in the most thrilling melodrama since "Scar-
face." Strong words ? Well, this is a strong picture !
"G-Men" sets a terrific pace and maintains it from first
reel to last. All the thrills of the most exciting gangster films
ever made, but this time with the gangsters on the spot and the
Department of Justice men the heroes. Cagney plays a struggling
young lawyer who joins the Department mainly to avenge a pal's
murder. He discovers how G-Men are trained and toughened ;
he stands up and takes it ; and when he goes forth to get his
gangster he makes good. Not, however, before we have witnessed
some of the most chillingly thrilling scenes ever recorded; like
a candid camera account of notorious high spots in America's
crime history, the brutally realistic "G-Men" will appall you even
as it holds you spellbound. Cagney is the convincing Cagney of
old, forsaking his recent mannerisms and delivering a superb per-
formance. Ann Dvorak is excellent, up to her "Scarface" form.

The Devil Is a Woman — Paramount

Reckless_M-G-M

SWAN-SONG of the Dietrich-von Sternberg star-
director team, this picture is a great argument-starter.
I'll begin it by saying that for sheer studied beauty it has
never been equalled, or even approached ; that if the plot
had been only half as potent as the photography, "The Devil is a
Woman" would go up on the screen scoreboard as the triumph of
Dietrich's career instead of, as will probably happen, going down
in screen history as the most costly series of still-life portraits
ever camera-painted. Then I'll duck. It may be that some of
you will be so bored by the mere eye-appeal of this trite tale of
the wanton woman whose charms bring men grovelling to her
feet, you won't care whether Dietrich is at her most devastating
or not; you won't be interested even in Caesar Romero, the new
Latin glimpsed all too briefly as Lionel Atwill's rival for Mar-
ine's lush favor. And I can't say I blame you too much. Never-
theless, it seems to me this is worth seeing if only to witness
the latest work of Josef von Sternberg, Hollywood's greatest
cameraman and the most enchanting close-ups of Marlene.

"RECKLESS" has everything, they tell me. It certainly
has — everything except Ken Maynard's horse and Baby
LeRoy. But I wish they had given us more scenes of
Jean Harlow and Bill Powell like the one in which Jean
falls asleep in the hammock while Powell is proposing — more of
this, and less of everything. The gorgeous Harlow and the
debonair William will win you on their own appeal regardless of
the story which makes Bill, a promoter who promotes everything
but platinum blondes, take six reels and three musical numbers to
awaken to the fact that there's only one girl in the world for
him, and she isn't a brunette. Harlow is similarly blind, wading
through marriage to a worthless scion of wealth, played by
Franchot Tone, and trouble, trouble, and then more trouble before
she, too, makes the Great Discovery. A yacht and a tot, a sui-
cide and a Spanish revue interfere with the real fun of watching
Powell at his most prankish and Jean at her most piquant. May
Robson will amuse you as Jean's grandmammy, and a newcomer,
Rosalind Russell, shows great charm and promise.

SCREENLAND

Clever
ootwork!

Hollywood blazes with beauty! Then let
Hollywood stars be your beauty guides!

By Josephine Felts

The other day a particularly beautiful girl,
named Jean Harlow, walked across the lot of. one
of the big studios in Hollywood. She was so
poised and graceful, with such a gorgeous figure
that all eyes turned in her direction.

One of the directors on the lot followed her apprais-
ingly with his eyes. "Clever footwork!" he said quietly.

For this man who has had a great deal to do with the
selection of beautiful girls for the screen, knows this
deep beauty secret : that the first step toward that free
and graceful look that is always young and charming,
toward all-round attractiveness of every kind, is to have
feet so well shod and well-cared-for that they just never
let you down.

Lovely feet today are just as much a part of a beauty
ensemble as are "the hands they love to hold." What is
more, they are. getting their share of attention. • It is an
old truism, that feet that hurt put lines in your face. But
it is even truer that feet that don't hurt, feet that are
beautiful, strong and capable, are the very basis of
beauty.

At two very special times, feet are in the spotlight : in
the evening and in summer playtime. In the evening
when you sally forth all dressed up in your most fron
frou evening gown, you may be either trailing clouds of
drapery, if you have gone in for the newest Hindu eve-
ning clothes, or you may be picturesque and rustling if
taffeta's your fabric. But no matter what else you wear,
you will be pretty sure to have the toeless evening sandal
which shows to such good advantage the shining polish
you wear on your toes. By the way, have you laid eyes
on the new toeless and heelless sandal ? I do hope the
designers won't push us too far. We'll be barefoot next,
and liking it !

In summer playtime brilliant toe-nails are going to be
the rage. And are we going to have fun at it ! Now you
may not enthuse over brilliant finger-nails. The man in
your life may object. Most men in one's life do object,
so I've found to my sorrow, to brilliant polishes on their
lady's hands. But when it comes to toe-nails, you may
go right ahead and express yourself. You'll win only
approval. Many a demure little miss is going to surprise
everybody by developing a {Continued on page 72)

Jean Harlow: famed for clever headwork and footwork, sil-
houetted in statuesque loveliness just before a dip in her own
swimming pool. Note Jean's lovely, well-groomed feet.

for July 19 33

Good at Figures!

Keep fit the gay Mary Boland way! Smart at diet as at dialogue,
as smooth in silhouette as in comedy performance, Miss Boland
illustrates James Davies' rules for the successful Modern Woman

Mary Boland is one Holly-
wood star who never diets and
has no routine of strenuous ex-
ercise. This is because she is
always in the best of health and
a pencil-slim figure would be no
asset to her in the roles she
plays. Miss Boland holds herself
beautifully and keeps in excel-
lent condition. When she is not
working, she eats whatever her
appetite demands; but during
the filming of a picture she con-
fines herself to light luncheons
and sensible dinners.

For the non-fattening diet
menus for every day in the
week, recommended by James
Davies and endorsed by Miss
Boland, turn to page 84. Don't
forget, too, that Mr. Davies is
here to help you solve your own

weight and diet problems.

EEP Young' and Beautiful" is more than a

It's an excellent di-

title to a popular song,
rection for all women.

W hy should a woman slump into homeliness
and old age? Youth and beauty can be hers for as long
or as short a period as she decides. The catch in it is
that she must take time and trouble to preserve what is
hers.

I don't mean that any woman can remain a cute little
ingenue forever, but she can grow into a pretty adult
without becoming a coy and ridiculous person pretending
to be a decade younger than she is. She can remain slim
and clear-eyed, with muscles and smooth skin.

Perhaps you have just gone on your busy way, never
bothering about your figure or a daily routine of exer-
cise, because you "always stayed the same weight, no
matter what you ate." Then one day, you happened to
look in a shop window, or in a full-length mirror in a
hotel, and wondered for an instant who that awful-look-
ing woman was. And it was yourself ! Too plump, too
stoop-shouldered, double-chinned, thick-waisted. It was
a shock, wasn't it?

If you are more than thirty — even, in some cases, not
yet thirty — and haven't taken stock of yourself lately,
please do it now! Look at yourself critically, weigh your-
self, and consult a chart of correct weight. Then, if

you're not satisfied with the result promise yourself to do
something about it.

We'll say that the scales show excess poundage. Don't
try to follow a strenuous reducing diet and go in for
violent physical exercises in a desperate endeavor to undo
ten years in ten days. Go after the over-weight, but go
after it scientfically, carefully. Try the non-fattening
menus given with this article for a week, and arrange
similar menus of your own for the other weeks in a
month. Then make yourself follow a simple routine of
exercise night and morning. Dieting alone can't be de-
pended upon to reduce fat from spots where it is most
annoying and most noticeable, as in the abdomen, hips,
buttocks, upper arms and neck.

In following the diet given here, I'd suggest that you
make your salad dressings with mineral oil. Also, if you
are a woman who has always had tea or coffee with her
meals, you may believe you can't possibly do without a
hot drink of some kind, especially for breakfast. In that
case, begin by cutting down on the number of cups and
the strength of the coffee taken ; gradually reduce both ;
then use one of the coffee substitutes until you can man-
age without it.

In one of the earlier articles, I mentioned in passing
that stretching exercises modeled on those performed by
the family cat are wonderful (Continued on page 84)

SCREENLAND

ScREENLAND

amor

hoo

Lesson in young loveliness with
added attraction of Glamor — by
Rochelle Hudson, sweetest and
smoothest of the screen's baby
sirens. Rochelle goes quaintly gay
with white pique bonnet and ac-
cessories. Her gloves, her hand-
bag— even the flower on her lapel
proclaim the high style of pique.

The gayest gloves ever designed
in Hollywood! Miss Hudson
wears Rene Hubert's new gaunt-
lets of multi-colored jersey in
pastel shades, with jade green
predominating.

The Rochelle Hudson you see in
the Will Rogers films, right. She
can be as demure as this — and
as smart as she looks in our
other portraits. No wonder she
is called Hollywood's cleverest
young actress!

Bewitching bonnet for
a modern Baby! Rene
Hubert created this
old-fashioned poke
bonnet edged with
lacey horsehair braid.
Piquant, the velvet
ribbon chin-strap!

for July 19 5 5

Edited by

Here's to youth with a dash
of sophistication, as per-
sonified by Hollywood's
most exquisite ingenue, and
enhanced by Rene Hubert
creations

Only a Frenchman could have
created the costume shown at the
left! Only a girl as young and
glamorous as Rochelle could wear
it! The hat is fashioned from nat-
ural-colored Italian straw, with
chin-band of hand-made straw
lace. The gloves are black velvet
with cuffs of the lace straw.

All Glamor pho-
tographs of Miss
H udso n in acle
especially for

SCItEENLAND 6y

Otto Dijar, Fox
Films.

Feather finery! Rene
Hubert designed for
Miss Hudson the tiny
hat and matching
muff which she is
wearing at the left.
The feathers are a
natural shade, bright-
ened by jade green
coque feathers. Note
the clip and bracelet.

Beauty in black-and-white!
Rochelle's hat takes its theme
from those worn by French nuns.
The frock of perfectly plain
black wool is enlivened with
the white pique jabot.

Rochelle, left, takes excellent
care of her young-girl's skin, so
that when she reaches the star
stage she will never have to
worry about her complexion. It
will always have that fresh,
dewy look.

SCREENLAND

Fred Astaire won't hold this pose very
long, soon he'll be stepping into ac-
tion for his new picture, "Top Hat.''

KATHARINE HEPBURN has
a habit of working in com-
fortable, flat-heeled sandals when
her feet don't show. Or else she
goes entirely shoeless. At any
rate, her latest director fell into a
habit of saying, at the end of a
scene, "Okay, Kate. You may
take your shoes off now!"

ON HER return from London, England,
Fay Wray described a marked differ-
ence between American fans and English
fans. In America, she said, fans rush the
stars, demanding autographs and nipping
buttons, handkerchiefs, and other objects
for souvenirs.

"In England, I had a constant escort of
boys on bicycles," Fay told friends. "They
simply followed our taxi to the studio,
theatre, restaurant, or wherever I was go-
ing. When we arrived, they merely stood
about and smiled until we went inside, and
then they went on their way."

TACK OAKIE and Clark Gable
J had themselves a lot of fun
while they were on location in
Washington for "Call of the Wild."
In particularly mellow mood one
evening, they decided to buy up
all the perfume and toilet water in
town.

Oakie finished up with about
forty bottles of the stuff. He
brought all of it back to Holly-
wood with him. Gradually, by
reason of having several girl
friends, Jack is unloading by giv-
ing them bottles of perfume.
What he calls "smell liquid."

Here s
ol ly wood

Come on along on a news and gossip hunt
to the homes and haunts of Screen Town

CAN IT BE LOVE? DEPT.

THAT little nudist gnashing his teeth
over in the corner, is Dan Cupid, angry
because the marriage of Dolores Costello
and John Barrymore, long supposed to be
a happy one, is reported "on the rocks."
They were married more than six years
ago, and have two lovely children. Dolores
retired from the screen right after the
wedding, and they seemed to be a refuta-
tion of the belief that marriage cannot suc-
ceed in Hollywood.

After several false starts, Rosita ^lore-
no and Melville Shauer, studio execu-
tive, eloped to Arizona and were married.
Mary Astor's husband got his divorce from
her within a few days after their separation.
He got custody of the child, and she did not
enter a counter suit.

Anita Louise and Tom Brown, after
a few weeks' separation, made up their
minds that other lads and lassies may be all
right, but not for them. So they've resumed
where they left off ; another lovers' quar-
rel that has ended happily. However, their
argument did cause them to postpone their
secretly contemplated marriage.

Among the "very-regulars," seen at all
the places about town at least a few
times, are Janet Gaynor and Gene Ray-
mond. It is love with Gene, apparently, but
Janet maintains indifference; she likes him,
just as she likes Henry Fonda, Margaret
Sullavan's former husband who is now pay-
ing homage to the Gaynor.

Francis Lederer is sparking Mary Anita
Loos frenziedly. Arthur Lake is dividing
his sweet words between Betty Furness and
society-gal Gloria Hatrick. Frances Drake
is being seen places with Henry Wilcoxon.
Cary Grant is often with that tall socialite
with the big bankroll, Janet McLeod.

"VTOU'D never know Jackie
■*- Cooper. Husky for his age,
he is growing to young manhood.
Although he is only about thir-
teen, Jackie is wearing long trous-
ers. Master — or is it now Mister?
— Cooper sprang iip like a mush-
room, almost over-night. His par-
ents plan to send him away to col-
lege, when his screen days as a
boy star terminate.

What a combination for rhythm and melody! Irving Berlin, master of song-hits,
tinkles a tune he wrote for "Top Hat" while Ginger Rogers and Fred Astaire get
the swing of it. Note how Ginger dons a topper with dash and ec/of.

for f uly 19 35

By Weston East

THE cutest sight in the studios
today is Carol Ann Beery, at
work in a picture with her father,
Wallace Beery. She is the busiest
little body in the world. She has
her own specially-made make-up
kit, and Wally had made for her a
tiny dressing-table, an exact mini-
ature of his own, replete with mir-
rors and baby electric light globes.

MOVIE stars becoming mothers is such
a common event nowadays that they
rate little more than newspaper mention.

A movie star becoming a sister is some-
thing else again. In fact, Joan Marsh is
about the only screen actress of importance
who is to welcome a baby sister. Her
father, cameraman Charles Rosher, married
a girl about his daughter's age, and the
stork is coming soon.

SUMMER has come to Hollywood. You
can always tell. Back East, the first
robin means spring; out West, when Greta
Garbo moves to the beach, that is the in-
evitable sign. Garbo has given up her city
house, and once again she is basking in the
sunshine of the beach beside the Pacific.
We'll let you know when autumn comes.
That'll be when Garbo moves back to
Hollywood !

Named for fame by their studio bosses! Left to right, Gertrude Michael, Gail
Patrick, Wendy Barrie, Ann Sheridan, Katherine DeMille and Grace Bradley, young
actresses whom Paramount votes its "best bets" for future stardom.

\\THY folks go nuts in Holly-
wood! Because of his per-
formance in "Lives of a Bengal
Lancer," director Henry Hath-
away selected Gary Cooper for the
title role in "Peter Ibbetson."

"They're both sad parts," was
Hathaway's serious explanation.

THOSE three girls who were deter-
mined to get Gene Raymond's auto-
graph during his recent personal appear-
ance tour, solved their problem cleverly.
They bribed a waitress who was delivering
Gene's luncheon to his theatre dressing-
room. They took turns wearing the wait-
ress' clothes, and each girl delivered a
course. Also, each girl secured an auto-
graph.

FUNNY about Buck Jones. He started
in pictures as a double. He enacted
dangerous riding stunts for nearly every
famous Western star in the movies, and he
never got so much as a scratch. But in the
first picture of his new series, Buck looked
over his shoulder at a gang of pursuing
brigands — •( character actors; not supervis-
ors)— and walked right off a twenty-five-
foot cliff. He sustained cuts, bruises, and
a few sprains.

FOX executives raised a fuss be-
cause all of the still pictures
of Shirley Temple in her new pic-
ture showed her with Joel Mc-
Crea; there were none with other
members of the cast. The execs
demanded a reason. In reply, Mr.
Winfield Sheehan found on his
desk this note: " Temple does not
chuze to pose with enyone but
Mack Kray. Yours respeckted,
(Signed) Sh irley Temple . ' ' (Well,
it makes a good story, anyway!)

SCREENLAND

ALL this talk about Hollywood
people selling everything be-
cause the industry's moving to the
East Coast must be hooey,"
cracked Jack Oakie. "Look at
Garbo. She's smart. And she
just bought a new set of tires for
her 1928 Rolls."

A LOVELY newcomer to Hollywood is
June Travis, nee Grabiner, whose father
is vice-president of the Chicago White Sox,
and wealthy. There's a cute story about
how she signed a contract. Seems she was
swimming at Palm Springs, when a strange
man said to her, "How'd you like to go
in the movies ?"

She laughed and waved him aside. "I've
heard that story before, mister," she snapped.

But she hadn't ; at least, she hadn't heard
it quite the same way. The "strange man"
happened to be Hal Wallis, a chief execu-
tive of Warner Brothers Studio.

TS MADGE EVANS about to marry?
A She has hired a boxing instructor, and
takes three lessons weekly . . . Ben Bernie
went on an amateur radio hour, imitated
himself — and the listening audience voted
him third prize ! . . . James Gleason still
has an uncashed three-dollar check ; his pay
for the first week he ever worked . . . Ann
Harding has been given permanent custody
of her child, Jane ; ex-husband Harry Ban-
nister has faded from the picture . . . That
angry shout from Hollywood was Ann
Sothern; Paul Kelly's dog dug for a bone
right in the center of her new garden . . .
Since the removal of his tonsils, Jack
Oakie's voice is two tones deeper.

'HEN May Robson was ten-
dered a great part on the oc-
casion of her seventieth birthday,
by executives of M-G-M studios,
she insisted that Cora Sue Collins
be a guest of honor. Cora Sue
was seven years old the same day
Miss Robson was seventy.

May and little Miss Collins
each had cakes — May, a large one
with three score and ten candles;
Cora Sue, a small one with lucky
seven candles. In addition, the
two "girls" exchanged presents.

Dick Powell obliges Joan Blondell with
a light as Adolphe Menjou looks on
approvingly, 'tween scenes on the set.

Pals and fellow troupers. Left, Clark
Gable with Buck, important figures in the
film version of "The Call of the Wild."

"DROVING that you can carry
a good thing too far, Joan
Crawford's studio had to request
that she desist in her effort to ac-
quire Hollywood's tannest sun-
tan.

Joan's skin was turning so dark
that cameramen were having trou-
ble photographing her. Now she
has gone on a "sun diet" — one
hour of sun a day instead of two
and three, as formerly.

(Continued on page 71)

Proving that the Farmer is wise! A scene from "The Farmer Takes a Wife," with
Janet Gaynor and her new leading man, Henry Fonda, making his screen debut.

for July 1935

JIFFY KODAK V. P. — gives you the latest
creation of Eastman designers ... a
smart, small camera that gets good pic-
tures. V. P. stands for "vest pocket"—
and it really fits. Opens for action at
the touch of a button. Eye-level finder.
Takes ls/s x 2'/j-inch pictures. Costs but $5.

EYE-LEVEl FINDER

ACTION FRONT

JIFFY KODAK— Works so fast it
had to be called "Jiffy." Touch a
button— "Pop"— it opens. Touch
another — "Click" — it gets the
picture. Extra smartness in its
etched metal front. For 21ix314-
inch pictures, $8. For 2%x4M-
inch pictures, $9.

BROWNIE— Old reliable of the
picture-making world. The
finest models ever, the Six -16
and Six -20, have the clever
Diway lens for sharp pictures
of near and distant subjects.
Six-16 Brownie makes 2Vz x 41i-
inch pictures, costs $3.75 . . . the
Six-20 makes 254x354 -inch pic-
tures, costs $3.

vse newer AOi

show what your old camera lacks

YOU SIMPLY CAN'T SHOW your picture-
taking ability with an out-of-date camera
— any more than you can show your driving
ability with an obsolete car.

Older cameras simply don't measure up to
1935 standards. Look at these new models.
Check over their features. To their other
fine points, add better lenses and shutters
than you could ever before buy at the price.

Get behind a new Kodak or Brownie and
find how skillful you really are. Your dealer
has the model you want. Kodaks from $5 up;
Brownies as low as $1. What other pastime
will give you so much for so little? . . . Eastman
Kodak Company, Rochester, N. Y. . . . Only
Eastman makes the Kodak.

SCREENLAND

Eth

Merman

Leads Our

adio

rade

By Tom Kennedy

We're giving you a strictly personal
slant on the grand girl who has glorified
rhythm on screen, stage, and radio

ON THE eastern, or what nas been laughingly —
(this will kill you) — called the "wrong" end of
New York's Queensborough Bridge, lies a
sprawling community whose chief distinction,
in those bygone days when Rudolph Valentino ruled as
king of the screen, was that some of the film's most
famous stars and directors created many of their cellu-
loid epics right in the heart of Astoria, Long Island.

Of course the Paramount studio still stands there.
And occasionally there are sporadic flares of glamor as
when, for example, Messrs. Hecht and MacArthur
brought Noel Coward a-motoring over the bridge to act
up in one of their unsupervised productions.

For the most part, however, the old plant lives only
as a monument to a past glory, and one in no way com-
parable with that from which the loyal citizenry glean
even greater pride as townsfolk of the place where Ethel
Merman was born and raised.

With America becoming, to its own joy, Merman-con-
scious, thanks to radio and a promised film, the Astoria
citizens ain't seen nothin' yet if they think their town has
received a lot of free publicity because Ethel Merman
has made good.

Broadway has had Ethel Merman tagged as one of the
theatre's brightest numbers for some time. But that
doesn't mean what; it did once upon a time, when the
stage could put the spotlight of fame on its darlings and
the final deed of national celebrity was forthwith signed,
sealed, and delivered.

But all is not lost ! There are still "angles" of show
business which stem entirely from what used to be
known as the Main Stem. And nothing more clearly

proves the point than the present eminence of Ethel
Merman as a star still on the climb of its ascent in the
galaxy of the glorified.

Miss Merman's present status as a radio star heading
a program that is spotted on the Sunday night hour made
a peak of the week's radio schedule by Eddie Cantor, and
under contract to play with Cantor in his next Goldwyn
film production, is wholly the outcome of her triumphs
on Broadway.

Thus far the Ethel Merman star seems to have
hovered almost entirely around the Times Square area,
its orbit traveling a narrow course traced by certain defi-
nite institutions of show business.

Take the Alvin Theatre in 52nd Street, for example.
That theatre now houses the musical smash hit of the
current stage season, "Anything Goes," in which Miss
Merman co-stars with William Gaxton and Victor
Moore. Back in 1930 the writer had occasion to stop
in at the Alvin stage door. During the transaction' of
some brief and probably very inconsequential business,
since it was negotiated entirely in a conversation which
took place on the stairway leading to the dressing-rooms,
the principals of the "Girl Crazy" company filed past on
their way to don make-up for the night's performance.
Ginger Rogers turned left from that landing— her dress-
ing-room was on the stage floor, one of those assigned to
the stars. Ethel Merman continued climbing on up the
stairs — her dressing-room was on the upper floor.

The other day, calling again at the Alvin — this time
to see a star of the current show — we found Miss Mer-
man occupying a star's dressing-room, and more excited
about it than you'd expect after (Continued on page 72)

SCREENLAND

Fair Exchange

Continued from page 33

Off to London and new triumphs! Above, Helen Vinson with her parents,
who said au revoir and bon voyage as Helen sailed to do pictures abroad.

first victims of the new English snatch
racket — a brilliant, lovely girl soon to be
tossed aboard a ship and hustled into Brit-
ish bondage.

The name was Vinson — Helen Vinson;
for, reader, it was indeed she. Yes — that
tall, beautiful girl with the honey-colored
hair and the fine, frank eyes. Cursed, up
to now, with so many villainess roles, when
her heart is overflowing with the sunshine
of her native Saouth !

It is only recently that our film com-
panies, realizing her worth and warmth,
have begun to cast her in leading roles —
"the" woman instead of the "other woman."
And now, at the very hour of triumph, to
be sold down the Thames, like a Cockney
Uncle Thomas. It was too much, and I
said so. She smiled — enigmatically.

I led the lovely Helen into a quiet corner
of the Persian Room of New York's famed
old Plaza Hotel. Naught shattered the
utter stillness of the place save the ear-
splitting cackles of a hundred ladies and
the blare of a dance band playing "Zing ! —
went the strings of my heart !"

Lowering my voice to a roar (the waiter
looked like an accursed English film spy of
Greek birth), I ordered a flood of tea and
a few old crumpets. Then, and only then,
did I dare ask the beauteous Vinson about
her British slavery.

"Really, it's not so bad," she said, with-
out trying to fight back any tears. "It is,
I think, quite nice. Gaumont-British pays
my passage hither and thither. And the
salary, I may say, is pleasant — very
pleasant."

"But the British income tax !" I hissed.
"I hear it is horrible !"

"Oh — that !" and she actually seemed to
laugh merrily. How brave, I thought.
"The company computes the British tax,
which is 25 percent, and thoughtfully adds
it to my salary check. I think I can bear
the burden, you see !"

Oh yes ! I saw, well enough ! This
sweet, innocent American child had been
hoodwinked into looking forward to her
trip abroad ! I took another tack.

"What sort of picture are you being
driven to make?" I asked.

"Now that," said the Vinson, "is the
very nicest part of all ! It is a story of
Devils' Island [deuced novel, I thought!],
and I am to play opposite that great actor,
Conrad Veidt. A fine dramatic part, Mr.
Balcon assures me. And guess — we are
going on location to Algiers — Morocco !
I've never been there! Won't it be won-
derful ?"_

"It will, indeed," I said. I knew, of
course, that the British were planning to
sell her to some wealthy sheik, the lucky

dog.

"And then there's the King's Jubilee,"
the innocent child prattled on. "I'll be in
London right plump in the middle of that !
All the excitement!"

I sat back in my seat and contemplated
Miss Vinson, her cheeks rosy with the
spurious thrill and the hot tea. How glad
I am, I thought, that she is going to repre-
sent us at the Court of St. James. The
prettiest gal I have seen in months, and
the most affable.

And the band played "Lovely To Look
At." How true — how true !

"You are not telling me, I hope, that you
are actually going to accept money for
this pleasure jaunt," I said. "It seems to
me to embody all the jolly good fun of a
Sunday-School picnic, without the ensuing
stomach-ache."

She dropped her eyes. I picked them up,
dusted them off, and handed them back to
her with a low bow.

"Please don't think me sordid," she said.
"Truly, I am not commercial. But I really
am going to take the money so kindly of-
fered me by Mr. Balcon. I cannot, I fear,
live by Art alone."

"You've been working extra hard lately,"
I said.

"Six pictures in seven months," said
Helen. "When I went to M-G-M to make
my latest, 'Age of Indiscretion,' I rounded
out my list of studios. I've now worked on
every major lot in Hollywood."

And now, I thought, she goes to jolly old

Shepherd's Bush to play in "King of the
Damned," with Mr. Veidt and that other
Hollywood loan-out, Mr. Noah Beery, the
famous bass-singer.

She's come far, this Beaumont, Texas,
girl whose real name is Rulfs. But not as
far as she is coming. Vinson is one of
those foredoomed Thespians. She's never
wanted to be anything except an actress,
and as soon as she could fly away to
Broadway she did, and went the usual
heartless job-seeking rounds. I remember
her well in her early stage days, and she
had a lot on the ball even then. An un-
successful show called "The Fatal Alibi"
got her a Warner contract. A fellow-
named Laughton — Charles Laughton, I
think — was in the same play.

Warners typed her as the icy "other
woman" — this beauteous, warm-hearted
youngster who should be "the" woman, or
none. Once freed from the contractual
bonds, however, her success as a free-lance
has brought her more and finer roles.

She was delightful in that loved and
hated picture, "The Captain Hates the
Sea." She froze again as the snippy spouse
in "Broadway Bill," but then came the fine
role in "The Wedding Night," probably
the best thing she has yet done. Inciden-
tally, this Gary Cooper is one of her fa-
vorite Hollywood people. He's genuine,
regular, and plenty fun. He's her type,
but don't fret, Mrs. C.

Helen was a fine-looking specimen of
good-looking, well-treated girl, as she sat
there beside me in the Persian Room, so-
called, of course, because there is nothing
Persian about it, not even the help.

"I hear they still have tin bawth-tubs on
wheels in England," I said.

"Perhaps England isn't as primitive
as we Americans think," she answered.
"After all, they must have learned some-
thing about modern plumbing from our
Hollywood films !"

"You may be right," I said. "I expect
to be in England about June 1, myself.
We'll know more then."

"You must come and see me at merry
old Shepherd's Bush," said Vinson. "I'll
probably be so glad to see an American
face — even yours — that I'll throw my arms
around you !"

"It's a definite date," I said, bucked no
end. "I'll leave the wife in London to dis-
cuss millinery with Her Majesty, bless her
bonnets !"

At last I deposited La Vinson at the rich •
Fifth Avenue hovel she now calls home —
though she is looking at Connecticut farm
property with an eye to becoming one of
the county gentry, and ridin' with the
Westport Hounds.

"Don't forget your dashed old Yankee
friends !" I said.

"See you at Shepherd's Bush in June!"
she answered.

A handsome vanguard for our Holly-
wood slave colony, I thought. Smart chap,
no end, this Balcon.

So the March on London is under way !
For every Merle Oberon or Binnie Barnes,
we swap the British a Helen Vinson or
Madge Evans. If they ship us a Cedric
Hardwicke for movie villainy, we send
them a Karloff guaranteed to scare the
dear little British tots right out of Nan-
nie's arms.

And Helen leads the parade. May I be
there June 1 to claim that hearty Texas
hug — but it would be just my foul luck if
some nosey American tourist wandered on
the set first, and beat me to it !

for J uly 1935

LOOK FOR THE FLYING F

'AMU

swim suns

443 SOUTH SAN PEDRO STREET LOS ANGELES, CAL'^ORNiA
325 SOUTH MARKET STREET, CHiCAGO, iLLINOIS

SCREENLAND

Problems of an Actor's Private Life

figure, his recent ill-health had lightened
his weight until now he was thin to the
point of emaciation.

"The chief problem for an actor who is
married and has children, is a home," he
said. "Take my own case. My work calls
for me to live in three places: England,
Hollywood, and New York. For the past
ten years, I have shuttled back and forth
across the Atlantic so many times, I've lost
count."

His expression grew quite serious as he
got up from his chair to walk around the
room. He always thinks better on his feet.
His thoughts and ideas seem to flow more
easily, he says.

"Now I have very strong views about
children. To my mind, they fulfill a hu-
man need that no other substitute can pro-
vide. There is something so definite, so
final about having children. They are a
tie to life that exists for all time — not just
a day or a month. It's putting the root of
yourself into the earth, and knowing that
you will go on forever. Do you see what
I mean?" he demanded earnestly.

The most stupid listener could have seen
that he wasn't talking for effect. The
coldness of the printed word can no more
convey the warmth and sincerity of his
speech than a rose can bloom on an ice-
berg !

"For years, my own children have pro-
vided me with a definite interest that is
more important than any other factor in
my life. I have a boy sixteen who is in
school in England. I am very keen about
the fact that he wants to be a writer. He
has turned out a lot of stuff — poetry,
essays, and stories. Some of them quite
good, too. I wouldn't be a bit surprised
if he did write eventually, and uncommonly
well."

"Leslie, the girl, is ten. She's my fa-
vorite, and the most wonderful companion
any one could possibly want. She'll proba-
bly go on the stage when she grows up—
there are certain definite signs of a theatri-
cal tendency already."

The grin on his face was the fond, fool-
ish one of any proud father. "I spend all
my time with her when I am at home," he
continued. "She's a fine, little athlete.
Jumps, rides, swims, dives, plays a good
game of tennis, and is now learning to
play polo.

"You see, up until two years ago when
I bought the place in Surrey, she had been
living an awful life for a child. Boats,
hotels, or apartments taken on a temporary
basis. When I first came over here to play
on the stage, we took a house down at
Great Neck, Long Island, and put the chil-
dren in school there. Then I had to go
back to London to work, and of course, the
whole family went with me. The boy's
education didn't suffer so much, for he was
old enough to send away to school ; but the
girl's bringing-up became my chief worry.
From London to Hollywood is a long trek
for a child; and so about two years ago I
decided that I'd have to do something
about the situation, and we looked around
for a suitable place which we could make
a permanent home for the children.

"I found an Elizabethan cottage about an
hour's ride from London down in Surrey.
There's thirty acres of ground around it,
and I don't think I've ever had so much
fun in all my life as I got out of fixing
the place over. We put in modern bath-
rooms— it was an old farm-house before,
and of course it had no modern conveni-
ences— and knocked some of the small

Continued from page 17

rooms together to make larger ones, and
we started new gardens, and cleared up
the grounds, and built some new stables.
We have a few horses, and Leslie and I
use them every day, rain or shine."

As he talked, growing quite lyrical in
the description of his home, the enthusiasm
of his voice broke through British reserve,
and a new Leslie Howard appeared. One
lost complete sight of the great artist, the
player who has been applauded on both
sides of the Atlantic, and one saw instead
the family man. The undercurrent of
his words was triumph — triumph in the
achievement of a long-felt ambition. That
of acquiring a home ! Through the color-
ful pattern of his words you could sense
the great longing for a real home that had
consumed him all his life. You could feel
the vision of Leslie Howard as a young
bank clerk, coming up to London from the
country to make a living. The same vi-
sion floating before the eyes of the lonely
soldier he was, fighting throughout the
war; and after it was over, finding him-
self, like so many ex-service men without
a job.

When he came out of the army, he was
already a married man, having met his
wife on his first leave of absence from the
front. The problem of earning a living at
that time was causing great anxiety to
more than one war-time couple ; and for a
while, things were pretty bad for Leslie
and his young bride.

He had always liked the theatre. He

Bonny for the beach, are the
modern kilts of silk gingham worn
here by Iris Adrian.

knew one or two of the players, and some-
how through these contacts he managed to
get a job with an unimportant road com-
pany touring the provinces. He covered
most of the English countryside in the
next few years, playing usually small roles
in the old-time favorites like "Charlie's
Aunt" and "Peg o' My Heart." (Can you
imagine anything more delightfully incon-
gruous than that super-exquisite "Scarlet
Pimpernel" playing "Charlie's Aunt"?)

His' success in London, when he finally
managed to reach there, is theatrical his-
tory. But he feels that his finest triumphs
have been achieved right here in New
York.

"No other city has ever been as wonder-
ful to me as this place," he said. "Right
from the very beginning, when I came over
here in 1921, the people here seemed to
take me right to their hearts. I can never
repay my indebtedness to this city ; and yet
— I have to give it up — to stop working
here!"

It seemed incredible to me to hear an
actor making such a statement when at that
very moment his success was outstanding
in the city he thus renounced.

"I mean it," he said firmly. "I've had
to make up my mind to cut it out. A man
can only do so much, and no more. I've
nearly killed myself trying to live and
work in three different centers.

"It's not good enough ! I've been play-
ing steadily for eighteen years. There
comes a time in any man's life — if he has
any sense — when he wakes up to the fact
that life is slipping away fast, and he be-
gins to want other things than success. I
want to learn something about the fine art
of living. To enjoy my home. Sunshine.
Sports. Relaxation with friends. I want
to have a little fun. I've never really
played — perhaps I've begun too late — I
don't know just how to play now. Just
how to have fun. But I do want to find
time to do1 some of the interesting things
in the world — not just hack, day in and
day out — year after year !"

His voice lost the almost fiercely earnest
tone behind the words he had just spoken,
as he thought of a new angle.

"I admire the true dilettante," he said.
"He knows how to get the most out of
life. He probably knows the real essence
of living. Take Korda, the director-pro-
ducer, for example. He is the real ex-
quisite, the super-civilized human being.
The reason that the characterization of
'The Scarlet Pimpernel' turned out as well
as it did, is solely because Korda is 5"iV
Percy in actuality. 'I don't feel a bit like
working today,' he would say right in the
middle of shooting an important scene. 'It's
such a divine day ! All of you go home.
I'm going to the country !' And the fact
that it was costing about several thousand
dollars made no difference. Work is far
less important to him than catching the
supreme enjoyment of a mood or a mo-
ment !"

I wish you could have seen the bit of
acting accompanying the above reference to
Korda. Sir Percy in the flesh stood before
me ; and the airy wave of his hand — the
use of the battered old pipe in place of the
lorgnette — the lazy, languid yawn behind
the genteel fingers — all these were minia-
ture masterpieces of acting.

"Do you know what John Barrymore
said after he had played 'Hamlet' one hun-
dred times?" continued Howard. "He said
'Nuts ! I can make all the money I want
if I go out to Hollywood, and at the same

for July 1935 69
NUMBER NINETEEN IN A SERIES OF FRANK TALKS BY EMINENT WOMEN PHYSICIANS

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writes

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Leading Gynecologist of Brussels

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SCREENLAND

Wide World

Leslie Howard isn't playing teacher, here! He is being interviewed on the
stage where he stars in "The Petrified Forest," by high-school students.

time live exactly the kind of life I've al-
ways wanted to live. This business of
being the greatest actor on the stage is all
very fine, but what does it get me ? Work,
work, and more work ! That's all !' — and
that is exactly the reason that John gave
up playing on the stage and went to the
movies. Now he has a yacht ! And that's
how I feel about it," said Leslie sincerely.

"I have no personal ambition any more.
That sort of thing is part of one's youth.
But I'm past the stage where I'm willing
to slave with all my strength just for the
sake of the big thrill of an opening night.
That's what it really amounts to ! When
that first night is over, and the excitement
and tense anticipation of finding out just
how good you are in the part have gone,
the rest becomes slavery. You go on and

on, doing the same thing night after night,
forever and ever if the play's a hit, until
the monotony of its gets unbearable.

"I shall keep on working, of course,"
continued Mr. Howard, serenely impervi-
ous to the fact that he had uttered any
unusual sentiment. "My contract calls for
one picture a year to be made in Holly-
wood. I like that arrangement. Because
I like Hollywood. Living there in the sun-
shine. I shall take about four months out
of every year for my work on the coast.
Then back to England where I shall make
at least one, or perhaps two pictures a
year for Korda. Also, I can do a stage
play in London without having to give up
my home life.

"New York distracts me to the point of
desperation. I hate living in hotels. You

have to make such an extraordinary effort
to have any fun in New York unless you
have a home here. Otherwise, it's devas-
tating ! Night clubs, cafes, hotels — that's
all one can do for amusement. It bores
me to death ! I want to live in a place
where I can do other things besides sitting
in a smoky, noisy room, drinking uncer-
tain liquor. I want to be with my chil-
dren— to have my own things around me ;
my books, my own personal belongings, a
chair that I am particularly fond of, an
etching that belongs to me, that I like to
look at. A horse to jump on if I feel like
riding. The fresh country air, the sun. I
am a sun-worshiper by nature, and if I
have to do without it for any length of
time it makes me feel all withered and
shrivelled up !

"You know," he said, a trifle sadly, "I've
just waked up to another important fact
which has made me change my ideas about
working so hard. And that is, that the
day for building up big fortunes is gone —
finished — pfft! I've gone on slaving away,
year in and year out, with one idea in
mind. When I've saved up enough of all
this money that's pouring in I can stop,
and enjoy life for the rest of my days, be-
sides leaving a goodly bit for the kids' fu-
ture. Now with the government taking
away about two-thirds of everything I earn,
I feel that it's perfectly silly to keep on as
I did before. I have to pay two govern-
ments. Naturally, being an English citizen,
and property owner over there, they have
an income tax from everything I make.
They also feel that they are entitled to a
tax on what I earn in America. The
United States quite rightly feels entitled to
taxing my salary coming from American
dollars. By the time the two countries are
through with my annual income, I've very
little left towards founding a fortune ! So
there you are !

"So I shall keep on working, of course,"
he added, "just as long as I can. And
eventually grow into another George Arliss,
or someone like that. But I shall also try
to learn how to play a little. To get a
little real fun out of life."

He smiled, the most impish, saturnine
grin one could hope to see. The twinkle
in his eyes was positively sardonic. "It's a
pity that having a little fun is such a com-
plicated business," he said; and I'm still
trying to guess the answer !

H. C. Wells talks About the Movies

possibilities are unlimited. Opera has al-
ready been presented, through the motion
picture, to thousands upon thousands of
persons who never before heard even a
simple aria. Authenic backgrounds for
historical romances offer castor oil drowned
in chocolate ice cream soda. Newsreels
present a living history of the passing
years.

"Which of your books would you most
like to see filmed?" I queried.

"All of them," he responded, suddenly
becoming energetic. "Now, you've had
enough — "

" 'Tono-Bungay' ?" I interrupted hastily.

"All of them," he repeated, courteously
turning me around by the shoulder and
putting me out of his cabin. "Now, you've
gotten something — and you remember every
every word I said."

I turned to say goodbye. Wells lifted
his fingers to his lips to blow me a friendly
kiss.

While I was in Mr. Wells' cabin, a
young boy knocked at the door and asked

Continued from page 21

for the author's autograph. "Please, Mr.
Wells."

"You don't need it," said H. G. very
sensibly.

"Ah, please, Mr. Wells, I've been wait-
ing three hours," pleaded the boy.

"Well, you're a very patient young man,"
was the author's comment, as he began to
look through the pile of packages on his
table. On his bed, which was already
turned down, lay his neatly folded yellow
pajamas. In their direction, Wells cast
an eager glance.

"Please, Mr. Wells," begged the boy again.

"Ah ?" exclaimed H. G. in surprise.
"The patient young man ! What do you
want my autograph for?" he demanded as
he took the boy's pen and slowly scrawled
his name across a white page. "Collect-
ing autographs!" he snorted. "Useless oc-
cupation. Why don't you adopt some more
sensible avocation ? There. One for your
friend too? Oh, very well." And he
signed a second sheet, while the youngster
exultantly thanked him.

During the entire four weeks of Wells'
visit to America, I had attempted to obtain
an interview with him. When it became
apparent that he was returning to Europe
without granting any special interviews, I
looked up his cabin number on the Bremen,
went down to the ship on the appointed
night, and waited for the author in his
cabin.

"What do you want?" he asked when he
saw me.

"I want to do a story on you,"_ I told
him, in matter-of-fact tones, standing my
ground very well I thought.

"I have nothing to say," commented
Wells.

"What do you think of American mo-
tion pictures?" I persisted, feeling very
Lee Tracy-reporterish.

Wells looked at me and smiled.

"If I answer your questions," he de-
manded, "will you go right out to the pier
and go straight home? Will you?"

I promised. On that promise, I was able
to obtain this exclusive interview with him.

for ] uly 1933

Here's Hollywood

Continued from page 62

IT IS whispered around town by
. the Big Bird that he's about to
pay a visit to the home of Gary
Cooper, said visit to occur next
autumn. Cooper is the only mem-
ber of that popular foursome that
spends so much time together,
(Bing Crosby, Dick Aden, and
Andy Devine are the other three),
who isn't a father. It seems that
Doc Stork is about to remedy the
situation.

And is Guy Kibbee the happy
chappy! It was an eight-pound
baby boy, the second for the Kib-
bee household. The first was a girl,
Shirley Anne, now aged four.

PAT O'BRIEN is amused and slightly
annoyed by a number of letters that have
come to him from irate professors of Eng-
lish, all of whom object to his dropping of
"g's," and mistakes in grammar on the
screen. He doesn't know why he should
be singled out for reprimand for a common
error, but the fact remains that he has
been. He knows better ; he is a graduate
of Marquette University, where he majored
in English and Composition. His screen
roles make him talk that way, he says.

ROBERT MONTGOMERY
took his nearly-three-year-old
daughter on a movie set for the
first time. The tot gazed long and
hard at Joan Crawford, not quite
able to understand the heavy make-
up. At last she grasped Bob's
hand and whispered, "Why's 'at
lady wearin' the false funny-face?"

When she saw Bob dab powder
on his nose, (make-up, of course),
she was openly quite ashamed of
him.

EVERYTHING wasn't exactly peaches
and cream between Gene Raymond and
Ann Sothern during the filming of their
picture together, despite the fact that not
long ago they were engaged in a luke-warm
romance.

A columnist printed that Raymond sent
Ann a dozen orchids. He demanded a re-
traction, saying he never sent her orchids,
and he never intended to send any. Well,
that wasn't exactly flattering, and Miss
Sothern no like.

ELISSA LANDI has never had much
trouble getting her books printed, but
she'll have even less in the future. Elissa
has installed a complete printing press in
the basement of her house. It is primarily
a hobby, but Elissa also intends to print
her own volumes of verse, and she may
publish and circulate a small newspaper,
its purpose to be purely for fun for Miss
Landi's circle of friends.

AUDIENCES at the Shanghai
Theatre, in the Chinese city of
that name, actually booed "Frank-
enstein" off the screen — and for
the funniest reason. It seems it
is a Chinese superstition that
dragons and monsters must not
be harmed — and the people of
Shanghai resented the screen ef-
forts to do away with the monster
in the picture.

Makers of gay smart dresses advise,
7ash them with IVORY FLAKES '"

Cape frocks . . . jacket ensembles . . .
prints — the most exciting new frocks
are being designed to take trips through
lukewarm suds of pure Ivory Flakes.
The Carolyn Modes we show, for ex-
ample, are all tagged "washable with
Ivory Flakes." And listen to what other
creators of America's smartest daytime
clothes say — "We have found that pure
Ivory Flakes give the best results in
laundering our washable fashions." Of
course, Ivory is pure — that's why it's
an "Ivory-washable" season!

Good news for you — and good luck

for your pocket-book! You get 1/5 more
flakes for your money when you buy the
big blue Ivory box. Ivory Flakes are
your biggest bargain in fine- fabrics
soap today!

qq 44 0/
100 /o

PURE

Clever Footwork

Continued from page 56

SCREENLAND

Beauty in beach styles! Jean Harlow fashions her new beach cape, a scarf
effect with long streamers, of blue silk worn over a white satin swim suit.

gaily colored personality at the tips of her
toes !

So if your feet are about to step out in
the open, look them over carefully to see
how well they are going to pass inspec-
tion. Have a good pedicure at once. Watch
closely while it is being given you to learn
the routine to follow.

Cut your nails frequently and regularly.
Remember that on toes, the nails should
not be shaped as they are on fingers. It is
a distinct mistake to cut down into the
sides with the idea of ovalizing them. The
correct cut is almost straight across. This
lets them grow properly.

At least once a week dip the flat end of
an orange-stick into a cuticle or other
softening oil and pass it around the cu-
ticle. Sounds funny, I know. But it is
worth doing. And push back the skin
from the toenail as you would in giving
yourself a manicure.

Massage a softening cream two or three
times a week into your feet. Should you
feel a callous coming, take particular care
to soften it with cream and then tape it up
so that it will not develop trouble later.

If you are the thrifty kind of a girl, or
one of those who cannot abide too many
jars and bottles in her dressing-room, take

to heart the fact that one of the splendid
hand creams or lotions you use each day of
your life to keep your hands smooth, will
do well by you if massaged into your feet.
Or if you like and are willing to take the
pains, olive oil, warmed, is grand. You
had better put on a pair of those special
booties Hollywood is keen about after
using the oil. These are tied on after the
oil has been worked in. Dancers love
them.

Dancers, of course, take the best care of
their feet. They have to. But a few
leaves from their book will be helpful to
those of us who only walk. One par-
ticularly successful dancer who spends
hours a day practicing routines, soaks her
feet in tepid salt water at the end of each
day. Her legs are then briskly rubbed
with ice covered with cloth to break the
chill.

Never put ice directly on the skin of any
part of your body. Always wrap it in a
towel. It is easier to use this way, gives
you full benefit of the ice but does not feel
uncomfortable.

Why use ice? Because it slims your
legs and keeps them slim. It makes the
good which exercise does, stay by you. It
tightens and firms the leg muscles and
keeps them from enlarging with use.

As for polish for your toe-nails, apply
it much as usual. With this exception : put
the polish right down to the end of the
nail, covering it entirely. Do not let any
of the white show. Remove the polish
once a week at least, just as you would if
it were on your finger-nails. This pre-
vents discoloration.

In choosing the color, there are several
points to guide you. One way is to match
your finger-nail polish. This has the ad-
vantage of the ensemble idea, and keeps
only one bottle of polish in use at a time.
It may cramp your style a little if you
want to let yourself go and splurge as to
the color of your toes, yet remain con-
servative as to fingers. If you are doing
your toe-nails especially for the beach or
out of doors, and are going in for tan in a
big way, select one of the tawny polishes,
those with the yellow or gold tones in their
reds. There are several new ones made
with just this in mind, with shiny gold
surfaces. It is fun to experiment with
them, anyway, and to listen to the gasps
of admiration from your friends.

Ethel Merman Leads Our Radio Parade

the tremendous success she has scored in
the show, including the tribute of being
credited with giving one of the finest first-
night performances of this or any other
season. But the truth is that in the finest
sense of its connotations, Ethel Merman is
just a small-town girl — tremendously in-
terested in the theatre, and tremendously
respectful of stars who were stars when,
only a relatively short time ago, she was
just a minor member of the professional
fraternity.

Excitability, however, is not a Merman
characteristic. But, on the other hand,
meeting her, as is the case with all people
with the gift of being absolutely natural in
the expression of cordiality, is an exciting
experience.

There's a bounce and buoyancy, a robust
liveliness about this girl with the pronounc-

Continued from page 64

edly almond-shaped dark eyes and a girlish
trait of throwing back her head with a
sort of eager anticipation and attention as
she listens to your conversation. Miss
Merman is of medium height, about five
feet six inches, has brownish-black hair, is
slight, but more the athletic than the
sinuous type, and radiates enthusiasm and
the alertness you associate with vigorous
good health.

"I felt I might be uncomfortable, a sort
of outsider, you know, coming in here as
co-star with Billy Gaxton and Victor
Moore, who had formed the famous team
of Wintergreen and Throttlebotiom in 'Of
Thee I Sing' and 'Let 'Em Eat Cake,' " she
said. "But they have made me feel that
the same association is going right on, with
me added to it — and more than welcome!"

The Ethel Merman who got her first im-

portant stage break singing a song that
might have been written for her — but
wasn't, because George Gershwin didn't
have her particularly in mind when he
wrote "I Got Rhythm" for "Girl Crazy"—
is now an actress as well as a singer, or at
least a singer who puts all the vitality of
histrionic interpretation into the rendition
of a song.

That song still clings to her sentimen-
tally as well as professionally. "I must put
it first in my affections for all the songs
I've ever done, because it gave me my first
real break," she says. As a descriptive tag
it is equally pertinent, for you feel that the
title "I Got Rhythm" exactly describes the
Ethel Merman style of putting over a
song.

She has traveled a long way from the
days when she first was noticed on Broad-

for July 19 3 5

way as a night-club singer, and even the
singer of "I Got Rhythm," and that classic
from "Take A Chance," "Eadie Was a
Lady," which Ethel Merman made famous.
For now she is an actress, whereas only a
few seasons back she was an exceptionally
good "torch singer," specializing in those
long, hot moans.

Ethel Merman's first professional efforts
were displayed in a restaurant only a few
blocks north of the Alvin theatre — a debut
which led to more important engagements
in night clubs, like the one in which she
appeared with Clayton, Jackson and Du-
rante, the song, comedy and dance trio
which dissolved when "Schnozzle" Durante
was picked for stardom in pictures.

Under the circumstances it is little won-
der that Ethel Merman was a homesick gal
all the time she was in Hollywood, doing
the two features so far to her credit —
"We're Not Dressing," from which great
hunks of film in which she appeared were
left on the cutting-room floor when the
picture was released ; and "Kid Millions,"
in which she played with Eddie Cantor,
largely because the cuttings from "We're
Not Dressing" were given the once-over by
Sam Goldwyn, who decided upon this evi-
dence, that Merman "had something."

"But maybe," she admitted, "I would like
Hollywood if I had had the chance really
to see it. All I did there was work. Im-
mediately the work was completed I had to
jump a train to get back here for a stage
engagement."

But speaking of living anywhere but in
New York causes Miss Merman to insert
other "buts," such as "All my friends are
here, and I like the theatre so much."

She proves her enthusiasm for the town
by remaining strictly within its confines all
the time she is there. She lives with her
mother and father in an apartment over-
looking Central Park. Sundays she has a
bus man's holiday for herself playing
benefit shows — though that activity must
suffer some curtailment now that Miss
Merman is doing a Sunday radio show.
She is so much of the town which offers
such little opportunity for diversion other
than theatres and clubs, that she wouldn't
know what to do with a hobby even if she
had one.

Miss Merman's radio engagement is for
the summer, perhaps for the duration of
Cantor's absence from the microphone to
make his picture. She will go to the coast
to appear in the picture, and along with her
will go Al Goodman, whose orchestra ac-
companies her, and probably Ted Husing
also. Vinton Freedley, producer of "Any-
thing Goes" is preparing a show in which
Cantor will star on Broadway next season
— according to report a show which will be
bankrolled by Sam Goldwyn. Quite likely
Ethel Merman will be in that production
with Cantor also.

Like all stars who get up there in the
news, legend is beginning to form around
Ethel Merman, and currently there is a
disposition to harp on the "little girl from
Astoria, who rebelled at slaving over a
typewriter in Long Island City," stuff.
Another quaint fiction bandied about quite
a bit js that she never took a singing lesson
— which, in truth, she never did — "because
she was too poor to pay the tuition for
voice culture." As a matter of fact the
Zimmerman family, while not what you'd
call plutocrats, had an exchequer equal to
financing singing lessons had the daughter
of the house, Ethel, had the desire to take
singing lessons.

"I never took lessons in singing," she
says,_ "because I never wanted to take them.
I enjoyed singing the way I felt like sing-
ing. It seems to me I am doing all right
without the lessons."

And to that the only answer seems to
be: "Lady, your logic is perfect!"

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SCREENLAND

Mr. — Missus

Continued from page 27

Madame X
investigates:

the truth about laxatives
— as told to Madame X,
the Ex-Lax reporter

THIS is Madame X, the inquiring
reporter on assignment for Ex -Lax,
the world famous chocolated laxative.

The Ex-Lax Company said to me:
"Pack a bag . . . hop a train ... go here,
there and everywhere. Get the real folks
of this country to tell you what THEY
think about Ex -Lax. We want the plain
facts. Go into any town, walk along any
street, ring any doorbell. Get the story."
Here are a few jottings from my note-
book.

"EFFECTIVE" ..."I used everything
but nothing relieved me until I took
Ex-Lax." Frank H. Port, 118-48 — 154th
Street, Jamaica, Long Island.

"GENTLE" .. ."It is, therefore, very
important when I take a laxative that
it be one that is not harsh, yet it must
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Ex-Lax comes in 10c and 25c boxes —
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when the players race their chips from
room to room, upstairs and down again,
tumbling over each other and in general
having a hilarious evening and behaving
like a crowd of ten-year-olds. Sometimes
they stop and stare at each other, and then
they roar with laughter. After all, it is
comic to see world's famous screen stars
trying to flip tiddledly-wink chips into a
bathtub !

They play General Crazy too. It's the
silliest game imaginable, and therefore a
peck of fun. General Crazy is similar to
a children's game called Follow the Leader.
A leader is chosen, and everybody must
emulate all that he does. If the leader
goes into the kitchen and shakes salt into
his hair, the others must follow suit. That
is not so difficult for the men, but for
the girls who are not bobbed, salt in their
long hair is not so comfortable.

One time Lew went into the kitchen
and blew three pinches of black pepper
into the air. Eleven were playing that
night, and before five had aped the leader,
the air was so full of pepper that sneezes
were thicker than mustaches at an "Imitate
Charlie Chaplin" contest. On another
occasion, Andy Devine was the leader, and
I blush to tell you where the rash Mr.
Devine washed his hands !

These parties break up early. They are
marked by little or no drinking. A cock-
tail or so is about the limit for any one
person. Everybody is on hand for a good
time, and nobody ruins the fun.

THURSDAY: Maids' night out! That
happens in the best regulated households.
On this night, Ginger and Lew like to
go to a popular eating spot, such as the
Brown Derby or the Trocadero. They
may attend a motion picture afterward,
especially if they can catch a preview.
If there is no preview, they often visit
some obscure restaurant where it is not
necessary to "dress up." Then, they may
indulge a second evening of bowling for
the week or they may go to a pitch-and-
putt golf course near their home, or they
may visit the ping-pong courts, where
rows of tables are nightly surrounded by
groups of perspiring ping-pongists, or
ping-pongers, or ping-pongees, or whatever
the players are called.

Lew and Ginger are two of the best
ping-pong players in Hollywood. I will
stake my money on him against any man
among the actors, and Ginger will carry
my wagers any time she takes on a chal-
lenger among the actresses. There have
been publicity stories about this or that
star being champion of all Hollywood
ping-pong players. I not only say that
Ginger and Lew are far and away the
best, but my purse is in my hand, and I
am alert for dissenting voices.

FRIDAY NIGHT: Fight night, if
they're in the mood. Or during the sum-
mer months, Hollywood Bowl night, for
which they're always in the mood. They
reserve a season box for the Bowl sym-
phonies. Their box has four seats, and
they generally take two guests. _ Gary and
Sandra Shaw Cooper like music, so this
foursome is not uncommon on Bowl nights.

SATURDAY, and the week-end: They
like to go away on week-end trips. Some-
times they take a few friends and go to
Pine Knot, a tiny town near Big Bear
Lake in 'the Sierras. There they rent
cabins, and there they play for a day or
two, forgetful of Hollywood and the film
studios. They particularly like week-ends
in the mountains when there is snow.

Their longest trip together was spent
at Furnace Creek Inn in Death Valley,

California. They remained there four
days. Each evening they would return
to the Inn, loaded down with samples
of rock and soil. These samples they
carried back to Hollywood, and for days
Lew pored over them and consulted min-
eralogical books. He has recently devel-
oped a deep interest in how and when
various types of rock were formed.

Their Furnace Creek Inn vacation was
ended by the way, when the studio called
Lew back to Hollywood for re-takes. They
hurried back together, but it was the old,
old story of Hollywood — on their return,
they found Lew wouldn't be needed for
days.

Often, when they get an afternoon off
from work, they motor to Lew's ranch
in the foothills of San Fernando Valley,
about an hour's drive from Hollywood.
Lew owns 510 acres, located in a natural
bowl that may be entered only through
a narrow inlet that measures about two
hundred feet across.

Lew employs a caretaker on the ranch,
and this man raises cows and chickens,
and cultivates a few acres of land. There
is one small house on the property now,
but Ginger and Lew plan to erect an un-
pretentious week-end cottage soon.

Recently they visited the ranch in com-
pany with Mrs. Rogers and a family
friend. They took along two chickens,
a sack of potatoes, a skillet, and a grill.
At the ranch, they set up their grill and
proceeded to cook up a hot picnic lunch
of chicken and baked potatoes, just like
all picnickers would do.

Ginger is an excellent cook, and she
likes to prepare dinners and lunches. Of
course, the maid falls heir to the job

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First Prize, $150.00 in cash : Irene
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•3.5

Dick Powell dons a mustache! Looks
real, but it's a "prop" for his
"Broadway Gondolier" role.

of cleaning up. One of Gee's favorite
dishes, and a real favorite with their house
guests, she makes as follows :

One cake of Philadelphia cream cheese.

One small grated onion, juice and all.

Salt, pepper, and a dash of paprika.

Thin with straight cream or mayonaise
to a consistency that will keep it on a
potato chip that has been dipped into the
mixture. Serve with potato chips.

Lew has two current fads, home-made
motion pictures and music. He is a student
of music. Remember, he played in an
orchestra before he entered motion pic-
tures ? He has composed several numbers,
but is too uncertain of his own talent to
test them publicly. However, he is about
to "give in" ; he has composed a complete
symphony called "Autumnal Equinox,"
which may possibly be presented at Holly-
wood Bowl this coming season.

Ginger joins him in the home-made
movies fad. They have gone into home
production seriously, and now have three
two-reel or longer pictures to their credit.
They use a 16 mm. camera, and project
the finished pictures on a real screen set
up in their living room.

Their most recently completed "epic" is
"Little Red Riding Hood," two reels well
worth seeing. All their pictures to date
have been without sound, but now Ginger
and Lew are dickering with a chap who
may provide sound equipment.

The exteriors for their latest picture
were made at Big Bear lake. Interiors
were made in their own backyard. There,
the swimming-pool was drained and dried,
and transformed into a stage. Lew uses
real studio lights, (small ones), and has
a regular camera crew and lighting staff
among his friends. The casts are all-star,
and have included Ginger and Lew, Janet
Gaynor, Margaret Lindsay, Arthur and
Florence Lake, Andy Devine, and other
"names."

Ginger and Lew rarely go out alone ;
that is, one without the other. Ginger
attended a picture show with her mother
one night, because Lew was working with
a machinist on a dolly for their motion
picture camera. It was Ginger's first time
out without Lew since their marriage, and
she could hardly wait to get home to him.

Invariably, if Lew works late, Ginger
goes to Fox studio to have dinner with
him. If Ginger is the late-worker, Lew
dines with her at R-K-O. When they
both work late — well, you never saw two
glummer, more long-faced diners !

And there you have a cross section
view of the daily life of one of Holly-
wood's gayest, most fun-loving, young
married couples, Ginger Rogers and Lew
Ayres.

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for July 19 3 5

way was the way we shot the scene !

"She loves to run away between scenes
and play, the little rascal ! She loves to
climb things. Sometimes we had the mis-
chief of a time finding her. One day the
director got a duck horn from the prop
department and told Shirley that whenever
he blew it she was to return to the set im-
mediately. That was going to be their
private signal, and she didn't have to re-
turn until he did blow the horn. Several
people had teased her by making her come
back on the set before we actually needed
her. It was a great system — until someone
misplaced that horn ! We sent scouts all
over that sound stage trying to find Shirley,
calling her to come back ; but she'd been
told it wasn't official until the horn blew !
We tried whistles, bells, everything that
would make a noise — but no Shirley. I
think she'd been hiding yet if we hadn't
found that duck horn — at last!

Lyle Talbot — the "heavy" of "Our

Little Girl":

"I'm here to tell you there's nobody like
her to work with in Hollywood — man,
woman, or child! And frankly, I had to
be sold. I've worked with Child Wonders
before and in spite of all the encouraging
things I'd heard about Shirley, I was dis-
tinctly in the frame of mind to be shown.
I was!

"The first day I worked on the picture
I was late on the set and to cap everything
I didn't know my lines very well. As
usual, Shirley had hers down pat, and I
began to be ashamed that I was keeping the
little girl so long before the camera as I
continued to muff my cues. Finally, when
the director walked away, I turned to Shir-
ley and said : "I'm sorry about all this —
but if you'd run through the scene with me
just once more I thinl. I'll remember my
lines."

"She looked up at me, her little face as
serious as an owl's : 'I'll be glad to, Mr.
Talbot,' she said, 'I don't know my lines
very well, either !'

"Such overwhelming tact from a six-
year-old was more than I could bear. I
just grabbed her and hugged her and she
hugged right back !

"I play the 'heavy' who is trying to steal

Why We Love Shirley

Continued from page 15

Shirley's mother (Rosemary Ames), from
her father (Joel McCrea), in the picture;
and finally we came to the big scene where
little Shirley stamps her foot and screams
at me : 'I hate you, Mr. Brent, I hate you,
hate you!'

"It was wonderful the way she threw
herself into it. There was something heart-
breaking in the emotion she displayed —
half rage, half childish dismay. She made
the scene so real with her little eyes flash-
ing, her baby's voice breaking with rage,
that the entire troupe was impressed, and
very quiet, when the scene was finished.

"I remember I went over and sat down
and began to study lines for the next scene
— when suddenly little Shirley was standing
beside me. She put her little hand in mine.
'Listen,' she said, with the tears still stream-
ing down her face, 'I hope you don't think
I really hate you, Mr. Talbot. I like you.
Those are just lines I have to speak!'

"I was crazy to laugh but she was so
little and serious — and so worried that my
feelings were hurt. 'Sure, Shirley,' I told
her, 'I understand — we're just actors play-
ing our parts.' But she kept holding onto
my hand just to prove to the company we
were really friends.

"How can you help adoring a child like
that?"

Joel McCrea — Hero-Father of "Our
Little Girl":

"I hate for this to get back to Jimmy
Dunn, who believes he has the inside track
to Shirley's heart — but Shirley has pro-
posed to me and I have accepted ! All's
fair in love and war, especially where
Shirley's concerned ; and so when she told
me she was going to marry me when she
grew up, what could I do but consent?
It's too bad about Jimmy and Frances Dee
McCrea — but they'll just have to work it
out someway.

"Love her? I'm just crazy about that
little kid. But I tried hard not to tip my
hand. I couldn't afford to put my heart
down for Shirley to tramp on — so I treated
her rough. I call her 'Butch' — and she
loves it !

"The first time I called her that, she
said: 'Joel, why do you call me Butch???'
I told her, 'Because you're such a

wild and desperate-looking character.

" 'Like the desperate characters in 'Little
Miss Marker' " ? she wanted to know,
flashing those adorable dimples on me. I
agreed that was the general idea. 'But I
don't look like those desperate characters,'
she insisted. 'I don't look like those, Joel !'

" 'Oh, yes, you. do,' I stuck to my guns.
'You don't know how desperate you really
look. Mirrors don't always tell the truth !'
Every time she'd pass a mirror after that
I'd catch her tossing a quick glance to see
if she could surprise herself with a des-
perate expression !

"I wouldn't want this to get to Winchell
— but Shirley and I frequently sneaked
out for tea together between scenes. Well,
tea for me and a big glass of milk for my
girl friend. I'm different from Jimmy
Dunn that way. He loaded Shirley with
gifts — even a little wrist watch and that
sort of thing. But I never bought her
anything but a glass of milk- — and then I
told her she ought to be ashamed to not
pay her own way in this day and age
of feminine independence. One day she
asked me : 'Are you poor, Joel ? Haven't
you got much money ?'

" 'No,' I told her, 'I'm strapped. It's got
me down to my last cent blowing you to
milk!' And, believe it or not, the next
time we tea'd she brought her little purse
along with enough money to pay for her
milk and my tea! I ask you!

"Just before the picture was completed a
boon befell Shirley — and me — and our fu-
ture married life together when the school
children and good citizens of Tillamook,
Oregon, presented Butch with a calf —
Tilly Temple, to be exact. Because it is
a little difficult to make a household pet
of a young cow, Tilly has been turned over
to the milk people who will raise her until
she is old enough to support Shirley and
me in the nice, rich milk we are accus-
tomed to. As Butch has pointed out, it
will make our future so economical — 'not
having a lot of milk to pay for !'

"Do you wonder I'm waiting for my
little sweetheart to grow up?"

Gary Cooper — with Shirley in "Now

And Forever":

"Like most actors I'm not exactly crazy
about making a picture with a child— that
is, I wasn't until I met and worked with
Shirley. But she's no more like the aver-
age precocious trick child-actress than gilt
is like gold. It's almost unbelievable that
she could have remained so unspoiled, -be-
cause it isn't only child actresses who man-
age to get spoiled in this day and age, you
know — some of the neighbor's children can
be as precocious as any little artificially
mannered child who ever stepped before a
camera.

"I think a large share of the credit for
Shirley's sweetness should go to her sensi-
ble father and charming mother and to the
normal home-life the child leads when she
is not 'play acting' in the studios. That's
the way Shirley seems to look on her
work — like playing a game.

"I don't know which one of us had the
more fun playing between scenes of 'Now
And Forever' — Shirley or I. There was a
malicious rumor around that I never did
let little Shirley 'color' any of the pictures
in the paint-book set I bought her. It isn't
true. Shirley would be the first to tell you
I let her color two of them ! And if I
did do the rest it was only because I was
showing her how it was done. That's my
story, and maybe I'm stuck with it.

Reunion at Elissa Landi's home. The star, left; her parents, Count and
Countess Zanardi-Landi; her brother, Anthony, and his wife.

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"Anyway, she liked it best when I'd
sketch little things for her like birds and
cats. One day I drew a funny picture with
big ears and gaping mouth and wrote
under it: This is Shirley Temple. As "n
art critic she's perfect. Shirley looked at
it very carefully. Then she said : 'Can you
draw Mickey Mouses that kind of look like
him, Mr. Cooper?'

"Shirley is not permitted to work more
than six hours a day — but six hours are
plenty. Tell her anything once and she
never forgets it. Her mother reads a line
to Shirley for the first time, and the little
girl memorizes it. A dance director at the
Fox studio tells the story of teaching
Shirley a dance routine which was later
discarded. So he taught her another one —
but in the meantime they decided to go
back to the original dance, which was
more in keeping with the role. The di-
rector had entirely forgotten it — but little
Shirley remembered every step and did it
perfectly !"

James Dunn — "Stand Up and Cheer,"
"Baby Take a Bow," and "Bright Eyes":

"I suppose it sounds funny to say a little
kid like Shirley marked a mile-post in my
life, but it's the truth.

"I had begun to slip and slip pretty
badly, it seemed to me, after starting at
the top with 'Bad Girl.' But I thought I
must be nearing the end of the profes-
sional trail of juveniles when they started
casting me opposite Shirley. Supporting a
kid star was just a little worse than I
thought I deserved ! All my friends told
me I was foolish to let the studio put me
in 'Baby Take a Bow' — that no one would
notice / was even on the screen. So you
see I started work with the baby under a
severe mental handicap. Of course, we
had been together before in 'Stand Up and
Cheer' but that was a big musical with
glory enough for all. On the other hand
'Baby Take a Bow' was definitely a star-
ring picture for Shirley — and I was merely
in support of her !

"I'll never forget the first day of the
picture. I suppos'e I must have looked
pretty glum ; and Shirley, who had become
a real pal during the making of 'Stand
Up and Cheer,' must have sensed some-
thing was wrong. Anyway, she came over
and threw her arms around my neck and
hugged me tight and said : 'Oh, Jimmy,
aren't you so happy we're working together
again — haven't you missed me like I've
missed you ?'

"Let me tell you that right then and
there all that grumpiness of mine vanished
into thin air, and it never has or never
will come back if I have to play stooge to
Shirley all the rest of her starring career !
I tell you I love that little kid and all
those stories about how she's been an in-
fluence in my life — switching me off the
playboy stuff — are plenty true.

"Another funny thing about it, I think
Shirley has been lucky for me — I mean
in my work. Maybe it's just a coincidence,
but everything's been breaking right for
me during the last several months, includ-
ing the fact that the studio's been able to
buy some fine stories in which they're
going to cast me. My appearance in Shir-
ley Temple's pictures have jacked up my
fan mail, and, oh, I don't know — just
knowing the kid has made me happier
some way. I'm not awfully good at ex-
pressing it. I hope it doesn't sound silly.

"I love Shirley in every one of her
moods : when she's a little tired and wants
to curl up in your lap ; when her little
dimples dance when you give her a pres-
ent; when she's just a slightly dirty-faced
little girl playing around with her stand-in
between scenes and we have to wait while

she gets cleaned up before we can go on.
But I think I love her best when she's
cornered. Yes, like every normal kid in
the world Shirley gets herself in jams —
and it's a wow to see her get out of them !

"I think the story about Shirley and the
baby specialist is just about the best.
There had been a great to-do at the studio
for days in anticipation of the visit of this
noted child specialist who had made a trip
to the Coast for the express purpose cf
seeing Shirley and finding out what made
her tick. Everyone was in a slight uproar
bending backward in plans to prove to the
noted medico that Shirley was just a nor-
mal little girl leading a normal life.

"The day the doctor arrived was a big
one. Of course, we stopped work for a
couple of hours while he was escorted by

Ladders can't Jinx Herbert Mar-
shall, above, making up to play
a scene with Ann Harding.

Shirley, Mrs. Temple and several studio
officials through Shirley's bungalow, play-
room, etc. Shirley was a little surprised
at the idea of entertaining a 'grown-up' —
what child wouldn't have been? But I
think she was thoroughly impressed with
the idea of making a good showing before
the gentleman.

"As it drew near lunch-time someone
began to tell the good doctor about Shir-
ley's diet, explaining : 'We are very care-
ful with the child's food. She eats vegeta-
bles mostly; a little meat — and no rich
sweets at all !'

"The doctor was just about to say, 'Of
course' — when his eyes lighted on an enor-
mous glass jar of hard candies on a shelf.
Shirley saw immediately where he was
looking and not realizing there was a big
difference between 'rich sweets' and simple
candies she thought they were caught red-
handed.

" 'Oh, that candy, doctor,' she said, blow-
ing out her little cheeks just like she does
on the screen when she is excited, 'that
isn't for everyday use. We just keep that
here in case of picnics!'

"Well, it slayed the Doc and everyone
else, and after that he and Shirley got
along famously.

"Before he left he told them he consid-
ered Shirley the most amazing child he'd
ever encountered, and called her a little
genius. Well, I suppose she is ; but the
important part to me and everyone else
who comes in contact with her is that she's
just a darn sweet, lovable little girl — and
that's a bigger compliment, if you ask me!"

for July 19 3

T-J

amor

Girl

Continued from page 23

she had unconsciously acquired from Betty.

"Come over here," Stewart ordered curt-
lv, placing her directly beneath an arc-light.
"Look at me — no — not over there — straight
at me." Stella blinked under the soft blonde
hair that fell over her forehead.

"Looks well under the lights," remarked
Driscoll in the background.

Stewart whistled thoughtfully. "The
tvpe's not bad," he said over his shoulder
to Morrison. "Not much fire, though — "

"Give us a chance," growled the other.
"All she needs is a little kindling — "

"Just a kindling fool," Stewart scoffed,
but his voice was friendly.

Retreating a couple of steps, Morrison
placed his hands under his eyes in the ex-
pert's gesture, and for the dozenth time
surveyed the girl. Then, struck by some
sudden thought, he lumbered over to the
adjoining stage and stuck his head through
the door of a prison cell, at which the
workmen were still tinkering. "Robin," he
called. "Come out here a minute, will
you ?"

Stella didn't know much. But one thing
she did know — she knew who Robin was.
She knew Robin, indeed, as intimately as
we know people whom we see every day of
our lives. She — and all her little movie-
going sisters with her — knew how Robin
looked when he came down a stair-case,
how he shook hands, how he walked, strode,
ran, how he entered a car, drew his gloves
on, removed his overcoat — how he danced,
made love, smiled, kissed — yes, better than
anything else he did, this sixteen-year-old
could have told you how he kissed — how
he closed his eyes, how his face took on a
somber, suffering look. Indeed, if she could
have analyzed her emotions, understood her
child's heart, youn~ Stella Harrison would
have realized that she'd fallen a little in
love with this seductive projection of a
photographed man on a screen.

So when it happened that this glorious
Robin actually emerged from the prison
cell on the stage, emerged as a living crea-
ture of flesh and blood — dressed though he
was in the shabby garments of a fugitive,
made up though he was to look hollow-
eyed and gaunt — when he actually ap-
proached Stella from out of the shadows,
his eyes fixed on her and on her alone, she
awoke for the second time that day. And
this time she awoke more completely than
ever before — with a terror so thrillingly
sweet at the pit of her stomach that her
quivering legs could scarcely hold her.
Resting her weight on her delicate left hip,
she raised her eyes as though drawn by
some hypnotic power and looked at Robin.

Morrison could no longer control his
exultation. "Well ?" he burst out. "Go find
something, Bill — what ?"

Stewart, intent on the girl for the last
thirty seconds, drinking in her childishness,
her shabbiness, her innocence, her young
gaucherie, seemed not to hear. At length
he looked up.

"Yes — ?" he said half questioningly.
"Yes — -maybe — it's a chance. You can have
a test made tomorrow, Morrison."

It was 4 :30. Stella's wild chase began.

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blinking under the arc-lights ; with those
first awkward gestures in front of a camera.
If the test turned out well, Stella would

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be given a small part the next day — a big-
ger part two months hence — in three years
from now she would be a star.

In the wardrobe department, at any rate,
they knew what a screen test meant. Muhl-
raann knew. Betty knew. Pat Armstrong
knew. Even Stella, half asleep though
she'd been for most of her life — even Stella
knew — Stella who had been so thoroughly
awakened by the sight of the living Robin
Marlow that she took an almost active part
in the agitated council that was now going
forward in the wardrobe room.

The discussion was led, the decisions
made and the final program drawn up by
General Betty. Before noon of the fol-
lowing day — the hour for which the screen
test had been scheduled — Stella must be
supplied with a proper wardrobe. "Fixed
up," said Muhlmann. "Outfitted," said
Betty. "Dressed," said Stella.

The essential items of this wardrobe
were listed as follows. First, since legs
were all-important, a pair of really good
silk stockings. These presented no prob-
lem, for there were Betty's chiffon hose,
worn only once, reposing comfortingly in
the bureau drawer at home. Second, a
new bandeau and step-ins, because — you
could never tell — they might want to take
some shots in lingerie. These would have
to be bought. Betty knew of a man in
the wholesale business who might be will-
ing to sell them the things at cost price.
She'd never dealt with him herself, but
Juanita Romero had told her about him.
Then, an evening gown — a real evening
gown, cut low, backless if possible, because
backless gowns, Muhlman informed them
wisely, lend that certain touch. To buy
such a gown was naturally out of the ques-
tion, but Muhlmann had heard of a woman
—"now where does she live ? — Lillian
Way? — or maybe her name is Lillian, and
she lives some other place — och, I don't
know, but anyway, I'll find out. And the
gowns she rents — something gorgeous — she
buys from the stars — day clothes and eve-
ning clothes — nothing smarter — because
this Madame Lucille — that's it, Madame
Lucille — this Madame Lucille knows all
the biggest stars — and they have the clothes
on their backs once maybe and then they
sell— because God forbid somebody should
see them twice in the same dress — but for
less than ten dollars you won't get noth-
ing," concluded Muhlmann.

Then, an evening wrap — an evening
wrap of brocade with a real fox collar.
Neither Betty nor Stella nor any of their
councillors could conceive of a screen test
that didn't feature an evening wrap of bro-
cade with a real fox collar. They were
all agreed that Stella's future was more
likely to be made or marred by this eve-
ning wrap than by any other single item
of her problematic wardrobe. Ten pre-
cious minutes had been lost in fruitless
thought when Pat Armstrong, good egg
that she was, jumped up shrieking that
she had an idea. "That girl Marie Some-
thing-or-other — I worked with her once
over at Superba Films — well, she's got a
sister who's a mannequin and I think she
dances in a floor show, too — and she wears
the most marvelous clothes — if she hasn't
got an evening wrap with a real fox collar,
I'll eat my hat— and maybe if we tell her
what it's for and promise to be awfully
careful, she'll let us take it for a couple
of hours. It won't hurt to ask, anyway,
and it wouldn't cost a cent. Only where
can I get hold of Marie? — Central Cast-
ing, maybe — what was her last name — !"

That left the shoes. Shoes Stella must
have, and shoes would have to be bought.
She couldn't wear Betty's — they'd be too
big for her. Her legs were thin, anyway,
and they'd have to do what they could to
make her feet look small. Shoes, they
agreed, had to fit perfectly; and shoes —

SCREENLAND

James Cagney visits with Dolores
Del Rio on the "Caliente" set.

good shoes — were very expensive indeed.

By that time it was five o'clock. Stella,
sitting silent but alert in the midst of the
council, was seized by a sudden, uncontrol-
lable spasm of trembling. A chill ran
through her body, while her hands and
face burned, and it was all she could do
to keep her teeth from clicking against
each other. Betty shot her a glance.
"Feeling sick, kid?" she asked, but Stella
only shook her head.

"Och, the child's nervous !" cried Muhl-
mann. "Leave her alone. I would be
nervous too — ■" her laughter boomed, "if
they would put me tomorrow in a scene
with Mr. Robin Marlow !"

On the Alhambra street-car the girls sat
silent, each buried in her own thoughts. At
Alvarado Street Betty got out, having in-
formed her sister that she would meet her
at 7 :30 with the money for the evening
gown. Left behind, small, panicky, and
forlorn, Stella sat huddled in her seat, fig-
uring and figuring while the nervous trem-
ors continued to shake her young body.

Shoes that looked like anything at all
would cost ten dollars. Ten dollars seemed
a terrible price for shoes, but orders were
orders. Five dollars more, say, for the lin-
gerie. That made fifteen dollars which
Stella would have to wrest somehow from
her short-sighted mother. There was no
time to be lost, either, or the shops would
be closed. Pat Armstrong, meantime, had
departed in search of the unknown Marie,
and Muhlmann had promised to go straight
from the studios to a woman she knew on
Wilton Place who had the address of the
Salon Lucille.

At 6 :30 the outlook was black. Mrs.
Harrison was making a terrific scene in
the notion shop, z.nd refusing point-blank
to hand out any money. Stella burst into
a storm of weeping — the wild convulsive
sobbing of a child with big bright tears
running down her cheeks and over her chin
and into her neck. Unable to endure the
sight or sound any longer, her angry and
bewildered mother rummaged in her worn
bag, flung a crumpled bill at the girl and
set her -mouth hard over the resentful tor-
rent of words that still trembled on her
tongue. Betty meantime was seated on
the top step of a stair-cas,e, waiting for
the return of the struggling young dentist
from whom she proposed to borrow ten
dollars. Pat Armstrong had located Marie
and found her willing to do what she could,
but her sister had driven down to Palm
Beach with her boy friend, and heaven
alone knew what time she'd be back. Muhl-
man had unearthed the address of Madame
Lucille and phoned it to the butcher, from
whom Stella, tear stained and quivering,
picked it up on her way to the shoe store.

The three girls had arranged to meet at

for July 19 35

Fifth and Hill at 7:30, and all three ar-
rived, harried-looking but prompt. (Pat
Armstrong's devotion to the cause, by the
way, was bound up with the fact that Betty
had once come to her aid in an affair that
she never referred to except as "that jam
I got myself into." Betty alone had stood
by her in "that jam," and Pat's code would
have sent her cheerfully through fire and
water to repay her debt.)

Their faces looked pinched and wan in
the glaring light reflected by street lamps
and advertising displays, by restaurant
signs and theatre marquees. A steady
stream of people jostled and elbowed them.

"Got the money ?" was Stella's first ques-
tion.

"Only five," replied Betty briefly. "We'll
have to manage with that."

Stella shot her a glance and refrained
from asking for details. "I have the
shoes," she said, indicating a box under
her arm. "But no money for underwear."
Betty's full, crimson-painted lips set a trifle
more grimly, and Stella hurried on. "The
shoes are nice though — patent leather with
buckles and heels that high."

"Why didn't you put them on?" inquired
Betty severely.

"To keep them new."

"New ? You've got to get your feet used
to them, or you'll be walking like a giraffe
at the studio tomorrow."

"She can change 'em in here." Pat
steered her into the street-car terminal.
Betty opened the box, nodded approvingly
at her sister's purchase and wrapped up
the old shoes while Stella donned the new.
They were a little tight, but decidedly
smart-looking.

They walked to the Salon Lucille to
save the bus-fare. It was almost 8:30 be-
fore they found the dark, rather shabby lit-
tle street and the two-family house with
356 in dingy brass figures on the door-step.

The upper floor was dark, 'but a dim light
shone through the curtained windows of
the lower.

Betty rang the bell. After what seemed
an endless wait, the peep-door was opened
and a woman's white face peered out. Did
Madame Lucille live there? No, Madame
Lucille didn't. Madame Lucille had lived
there, but they'd got good and sick of hav-
ing all the extras in Hollywood traipsing
back and forth, and they'd given her the
gate. Where had she moved to? The
lady didn't know. What was more, she
didn't care, and to prove her point, slammed
the door in Betty's face.

"That settles it," thought Stella dully.
She was faint with hunger and felt as
though someone was sticking needles
through her feet. But she'd reckoned with-
out her sister.

"Nuts to Lucille !" decided Betty. "We'll
go home and fix up my nile-green to fit
you, and that'll give us five bucks for lin-
gerie."

But first, the evening wrap. Pat gave
Betty the mannequin's name and phone
number — Irene Gillespie, Granite 4609 —
and all three crowded into the phone booth,
while Betty dialled. No, Miss Gillespie
hadn't come in yet. No, I couldn't say.
She'll probably go straight to the Bowl.
The Bowl ? The Biltmore Bowl, came
the rather testy explanation, where she
works. What time was she due there?
Not till eleven. Thank you very much.

"Well," sighed Betty, "that means we'll
have to go home and come back again."
Because of the uncertainty of their moth-
er's mood, Pat's offer to go home with
them was declined with thanks. If I don't
get something to eat pretty soon, thought
Stella, I'll faint. If I have to work on
that nile-green dress tonight, it'll be the
end of me.

But the kitchen table at home was laid

with bread and cheese and ham, and a pot
of coffee stood ready on the stove. Mrs.
Harrison, in bed, pretended to be asleep.
She didn't understand the children, and the
children didn't understand her. The less
talk between them, the better.

Having snatched some food, the girls
tiptoed into their bedroom and brought out
the nile-green. The nile-green was Betty's
pride and joy, and there was gallantry and
heroism in the act as she draped the dress
about Stella's thin body and slashed ruth-
lessly into the material with a huge sharp
scissors from the notion shop. And if her
sacrifice was faintly tinged with calcula-
tion, if she thought : Suppose the test
turns out well, suppose Stella gets to be
a star, I'll be something, too — it was none
the less admirable, for all that.

There was a mirror in the bedroom
which had belonged to their grandmother
— a small, three-ply mirror on an elabo-
rately carved little stand with two diminu-
tive drawers for comb and brush. Stella,
weary to the point of exhaustion, felt some-
thing like nausea as she saw herself slip-
ping by in the triple glass — first, her face
with its smooth blonde hair, then her
shoulders, then a bit of her back, the lean
flat line of her stomach, and the puff over
each hip which seemed to her to add the
final touch of elegance.

"Your arms are too skinny," grumbled
Betty, lifting the dress from her sister's
childish body and sewing away for dear
life. Because she took large stitches, (for
her deft hands were accustomed to al-
tering clothes quickly), she finished soon
after eleven. Stella sat and yawned, her
mouth extended to the limit of its capac-
ity, while tears of fatigue ran from the
corners of her eyes.

But their hardest task still lay ahead of
them. . . .

(To Be Continued)

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SCREENLAND

Don't Fear Passing Years

Continued from page 16

not sitting around moaning that the first
wrinkle will ruin my life. How do I know,
perhaps life will be just beginning when
the wrinkles come!" and Claudette's deep-
throated laugh, with its contagious lilt,
filled the room.

"Few countries worship youth as does
America," she continued, warming to her
subject. "In France, for instance, a woman
isn't considered even interesting until she
is thirty. Peaches-and cream-complexions
aren't the ultimate of beauty over there. A
woman's charm mellows with experience.
She learns to know life, to become tolerant
and understanding ; and only then is she
capable of enjoying the .deeper pleasures.

"Youth and beauty are so precious to
most women, especially actresses, that they
are reluctant to be honest with themselves.
They listen to false praises, look into the
mirror and kid themselves that they look
as young and pretty as ever, and go on
demanding romantic roles. That is utter
nonsense ! No woman can play the lovely
heroine very long."

Because life wasn't any too easy for her
as a child, Claudette says she early learned
to look ahead and to plan. Now that she
has won success and fame, that early train-
ing still holds good. She looks ahead, and
never becomes so absorbed in the applause
of the moment as to lose her perspective
of the future.

Luckily for her, she started right out
playing leading roles on the stage and
never was the ingenue. Since coming to
the screen she has wisely insisted upon not
being typed. With her versatility she has
portrayed dutiful and careless wives and
upstanding daughters. She was the wicked
Poppaea in "The Sign of the Cross;" the
wilful runaway heiress in "It Happened
One Night;" "the intriguing Cleopatra; a
worldly woman singer in "The Gilded
Lily;" and a successful business woman
in "Imitation of Life." "My idea," said
Claudette thoughtfully, is to meet the fu-
ture with eyes wide open, and then there
is nothing to fear. Right now, I am steer-
ing into comedy whenever I can. I love
it ; and, too, a woman can continue on both
stage and screen a long, long time in
comedy. Look at Mrs. Fiske. She made
the change from drama to comedy most
successfully and remained a favorite to the
very last. There's May Robson. She came
to the screen in old lady parts but through
her remarkable comedy gift she now plays
a variety of characterizations in which
humor is the keynote, and she can go on
indefinitely.

"There is no use for an actress to blind
herself to the fact that romantic roles are

Warren William selects from the
extensive hat-rack in his dressing-
room, just the right topper to go
with his tweed jacket and white
flannels.

soon taboo. Then come heavy mother parts
that serve merely as background for the
drama and bring little satisfaction.

"I've known from the very first that my
time on the screen would be limited. Then
what ? That's what I wanted to know. So,
I took stock of myself and am making
plans. I know exactly what I shall do. I'll
direct!

"Oh, dear no, not pictures. But stage
plays. Few women have been successful
directing pictures and then only after years
of preparation in the scenario and cutting
departments. Anyway, too much money is
involved in a film. No studio would ever
trust an actress to direct one. We aren't
supposed to have brains !" and again, the
Colbert throaty laugh.

"The stage offers great opportunities. I
know I could direct a play, and how I
would love it ! Imagine a dozen characters
to work with instead of one ; imagine the
huge canvas on which to create the action,
the emotions of a great story. It would
bring a bigger thrill, a deeper satisfaction
than acting any one role, no matter how
well that role were played.

"Then, I would like to take undeveloped
talent and guide it to full power ; that
would be a joyous experience. Even now,
whenever there are young players on the
set, I fairly ache to take them in hand and
help them to say their lines, to show them
how to express thought through a gesture.
I've learned through such hard work that I
would like others to share the benefit of
my efforts.

"Enthusiasm is the dynamo of all human
action," Claudette went on, after a mo-
ment's pause. "Lacking this vital touch a
woman's life is uninteresting and very drab.
But in these days of opportunity there is
a place for everyone's talents. Absorbed
in some ambition, some definite aim, no
woman has time to worry over small an-
noyances or allow suggestions of age, with
its trail of unwelcome thoughts, to take
possession of her.

"I keep fit by taking excellent care of
myself. I never neglect my regular sleep ;
and as I am always trying to gain in
weight I have no fear of the 'middle age
spread.' I play tennis and golf and intend
remaining young and active for many,
many years."

Claudette says she has a pet theory that
keeping busy means keeping happy, and
keeping happy means keeping young. She
insists she could never be idle and she could
never be happy away from the theatrical
profession ; but there are other phases to
the theatre besides acting. For instance,
she spent three years in an art school be-
fore ever thinking of going on the stage.
She frequently assists in designing her cos-
tumes, and she also has a distinct flair for
decorating. These creative branches be-
long to the theatre, and she is fully equipped
to handle them and win new honors.

"Time could never be cruel to me," said
Claudette, "because it will never hang idly
on my hands. There are so many things
in which I am intensely interested. For
one thing, I love to travel as much, well —
almost as much, as to act. Perhaps later
I can prowl around in out-of-the-way
places that have always stirred my imagina-
tion. Then, as I said, I can always paint,
design, read, and study music. So why. I
ask you, should I fear the passing of the
years ?"

W. C Fields' Real Life Story

agent comes to my dressing-room. 'Who
d'you think's out front?" he says. 'The
manager of that Vienna theatre. Wants
to give you a contract.' 'A contract!' I
yell. 'Why, the — ' (all right, never mind
— put in a few dots and dashes.) 'Why,
I wouldn't play for that dirty so-and-
so,' I told him, 'for all the money in
the world. He almost stopped my heart,
the dots and dashes.' 'Don't be a chump,'
says the agent. What's the difference as
long as you get your money? Talk to

Continued from page 53

him, anyway.' So the manager walks in.
'Fields,' he says, 'I was a fool to judge
your act by the Winter Garden in Ber-
lin.' 'So what?' I ask him. 'So what do
I have to pay for the mistake?' he says.
'Two months' guarantee,' I told him, 'and
an increase over the last contract.' He'd
already paid me five hundred bucks, but I
got my price — and for two months in
Vienna," Fields concluded placidly, "I was
the most awful flop a man ever hired."
He had other noteworthy experiences

outside the theatre — experiences not alto-
gether amusing, though his narrative style
tends to make them sound so. He was
once visiting the Welsh coal-mines and fell
into conversation with a young man who
said he was the company doctor. "Look
pretty young to be a doctor," Fields ob-
served. "Well, I'm not really a doctor
yet," the other confessed. "But I can set
a broken bone."

A few days later Fields came down with
the flu, and asked the hotel to send him a

for July 19 35

physician. In walked the company doctor.
From his bed of pain, the comedian gave
him a long look. "Have a drink," he said.
The doctor had a drink. "Well," remarked
the patient, "I'm not really a doctor yet
either, so I'll cure myself if it's all the
same to you. So long."

On another occasion he was sitting in a
Berlin beer-garden with a group of friends,
when two Prussian officers, uniformed,
monocled "and sniffng the air like a couple
of camels, sat themselves down at the next
table. They didn't like the way I laughed
or something," Fields explains it, "and
started tellin' the world what they thought
of Americans. I stood it as long as I
could, then I let 'em have it. Hit 'em ?
Sure — " he seemed to be enjoying some jest
of his own — "you can call it that if you
like. Next thing I knew I was out under
the lindens. And next day I left Berlin
in a hurry. Figured I could" tackle a
broken contract better than the German
army in peace time. The theatre sued me
all right. So I hired a firm .called Lim-
burger to defend me. But they smelled up
the case so — " he said, fixing me with a
bland eye, "that I lost it."

Until the outbreak of war he was con-
tinually on the go — Europe, America, Aus-
tralia, South Africa, the Orient — hardly a
corner of the globe that didn't at one time
or another see and applaud the most dex-
terous juggler of his day. In 1914 he set
sail from Australia for India. On the
first night out the ship suddenly went
black. Officers passed from deck to deck,
calming panicky passengers. Something
had gone wrong, they said, with the light-
ing system. Nothing to worry about.
Next day the lighting system worked like
a charm, but that night it had gone screwy
again. On the third day land was sighted.

"What's it all about?" Fields inquired of
an officer. "Last time I went to Ceylon
it took ten days. Have they moved it
nearer?" "Off our course," smiled the offi-
cer and refused to say another word. But
they soon discovered that they were back
in Australia, having been exposed for
forty-eight hours to the danger of death
by explosion. For it was no defective
lighting system that had darkened their
ship, but news that the German cruiser
Emden, camouflaged and efficient, had been
scouring the seas in their general neigh-
borhood.

In Australia Fields found a cable from
Charles Dillingham, offering him a 20-
week contract for Dillingham's new show,
"Watch Your Step." It was opening in
Syracuse, New York — and to get there in
time Fields had to travel uninterruptedly
for thirty-nine days and nights. He made
it by a hair, and felt that his efforts had
been well repaid, for never had his act
been more uproariously greeted. By the
time he'd finished reading the papers next
morning, he was feeling pretty sorry for
Dillingham and pretty well pleased with
himself. For the critics agreed that, while
the show was a washout, Bill Fields' bil-
liard table act stood out from the general
mess like a sore thumb. Trying to look
modest, he appeared at the theatre. Dil-
lingham approached "to congratulate me,"
says Fields, " — so I thought. But I thought
wrong. 'Bill,' he says, T don't see any
place in this show for your billiard table.
And without your billiard table you're no
use to me.' I gave him one look and saw
he meant it. 'Hey, wait a minute, Charlie,'
I said, 'I traveled 39 days and nights to
fill this spot. I'm goin' to get my twenty
weeks' guarantee.'

" 'Sure you are, Bill,' he says. 'Go back

to New York, if you like, and draw your
salary. Or stay right with the show and
we'll have a high time together.'"

"Well, I came as near blubberin' then
as I ever did. There never was a whiter
guy than Charlie Dillingham. He had to
do what he thought was right by the show.
It wasn't his fault. But it wasn't mine
either. Yet there wasn't a damn thing I
could do about it. There never is. So
now you know why I'm nervous — or crazy
and nuts, as some of my good friends call
it — why I never feel safe in this blankety-
blank business I juggled myself into."

He was struck by another such bolt
from the blue when Ziegfeld closed his pro-
duction of "The Comic Supplement," though
it was drawing crowds. By that time
Fields was no longer a juggler pure and
simple. He'd written and was appearing
in five scenes featuring that particular
brand of humor which has since made him
famous in another field. But Ziggy didn't
like comedy, Ziggy was boss and, though
the critics raved, Ziggy closed the show.

Meantime, however, business at the
"Follies" was dropping and a few days
later Ziggy phoned. "Gene thinks your
stuff's good," he said — (Gene Buck was his
talent scout). "I don't. The nublic doesn't
want comedy. They want girls. But take
less money and I'll put vou into the Fol-
lies."

"No," thundered Fields.

Business continued to drop, Gene con-
tinued to nag Ziegfeld, and Fields and
his five acts were injected into the ailing
"Follies." And despite the fact that the
public didn't want comedy, receipts mounted
from eighteen thousand to forty-two thou-
sand a week, and for fifty weeks never
dropped below the latter figure.

But was Ziegfeld convinced? Well, he

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kept Fields in the "Follies" for nine suc-
cessive seasons, and would have liked to
keep him there longer. But all those nine,
seasons were enlivened by a species of
guerilla warfare between comedian and
producer.

"You've got to have girls," was Zieg-
feld's eternal cry; and by threat, cajolery,
and subterfuge, he tried to induce Fields
to put glamor into his act. Finally he de-
livered an ultimatum. "One girl," he com-
manded, "or your act goes off."

"All right," agreed Fields wearily, "one
girl."

He was in the midst of his scene that
night when, for no reason at all, a girl
appeared from the wings, leading a wolf-
hound. Girl and dog sailed across the
stage while Fields and the audience watched.
As they disappeared, Fields heaved a sigh
of a man roused from deep enchantment.
"What a beautiful giraffe !" he breathed
reverently. The audience howled, and
Fields professed himself willing to incor-
porate the girl permanently into his act.
But the great glorifier had cooled to the
whole idea.

When Fields first showed him his golf
act — the same golf act that had you rolling
in the aisles when you saw it in "You're
Telling Me"— Ziggy didn't like it. "Why
don't you do a fishing act?" he suggested.
"Listen — " the idea was taking gorgeous
shape in his mind. "Picture a huge pa-
latial yacht — with beautiful girls parading
the decks. And then — then yon come on
and do this fishing act," he ended a trifle
lamely.

"I'll tell you what I'll do for you, Ziggy,"

said Fields. "I think my golf act's pretty
funny. But if you're so stuck on this fish-
ing idea, I'll do it first and then go into
the golf. How's that?"

Ziegfeld agreed. Every day Fields re-
hearsed his golf act. "How about the
fishing?" Ziggy would inquire. "I'm work-
in' on it," Fields would reply.

The days passed. "Are you going to
show me that fishing act ?" Ziegfeld de-
manded.

"Sure," said Fields, "and believe me, it's
goin' to be good."

Opening night approached, with no sign
of the fishing act. Ziegfeld approached too
with purpose in his eye. But Fields fore-
stalled him. "Listen," he said, "I promised
you a fishin' act — I'm givin' you a fishin'
act. Only don't worry about it — leave
it all to me." In the distraction of super-
vising his premiere, Ziegfeld had no other
choice.

The stage remained empty for a moment
after the curtains parted on Fields' first
entrance. Then he appeared, a fishing-rod
over his shoulder. He placed the rod lov-
ingly in a corner and proceeded with his
golf act. Which proved such a riot that
though the word "fish" remained taboo for
some time thereafter, the golf act was never
molested.

At the end of nine years, however,
Fields found himself wearying of the
"Follies," of roving the country, of living
in a trunk. So when D. W. Griffith asked
him to play Eustace McGargle in "Sally of
the Sawdust," his current movie produc-
tion. Fields grabbed the chance.

(Next Month — Fields in the Movies)

Good at Figures

Continued from page 57

Non-Fattening Diet

(Recommended by James Davies)

MONDAY

Breakfast: y2 glass orange juice, diluted with
water, buttered toast, poached egg.

Lunch: 1 fresh peach, stuffed with cottage cheese,
2 slices fresh pineapple (on bed of lettuce,
watercress and chicory), French dressing, rye
crisp or whole wheat wafers, lime sherbet.

Dinner: 1 cup clear soup, 1 broiled lamb chop,
spinach, carrots and peas, Jello.

TUESDAY

Breakfast: 1 glass grapefruit juice, bran muffins.
Lunch: Sliced tomatoes, hearts of lettuce with

roquefort dressing, nut bread sandwiches, iced

tea.

Dinner: Fresh cut fruit, mixed, broiled halibut
steak with lemon juice, riced summer squash,
braised onions, prune whip.

WEDNESDAY
Breakfast : Fresh figs, rye toast. ■
Lunch: Chicken liver omelet, Swedish wafers,
iced tea.

Dinner: Roast lamb with mint sauce, string
beans, endive salad with French dtessing, va-
nilla ice cream with crushed strawberries.

THURSDAY
Breakfast: Sliced bananas with skimmed milk,
rye crisp.

Lunch : Waldorf salad, iced chocolate, whole

wheat melba toast.
Dinner: Tomato juice cocktail, cold lamb, hot

artichoke with drawn buttet, baked apple.

FRIDAY

Breakfast: Fresh pineapple juice, 1 poached egg

on slice whole wheat toast.
Lunch: Steamed vegetable plate, apticot mousse,

iced tea.

Dinner: Iced clam broth, salmon steak with
lemon sauce, baked potato on half shell, stewed
tomatoes with green peppers and chopped
onions, peach short cake (without cteam).

SATURDAY

Breakfast: Stewed prunes, rye toast.

Lunch: Vegetable salad with French dressing,
rye crisp, sliced apples and cheese, glass butter-
milk.

Dinner: Potassium broth, filet mignon (rare),
creamed celery, green peas, orange sherbet.

SUNDAY

Breakfast: Glass pomegranate juice, soft boiled

egg, 2 rashers bacon, corn muffins.
Lunch: Jellied madrilene, filet of flounder, cold

artichoke with lemon juice, compote stewed

fruit.

Dinner: Hors-d'oeuvres, cold fried chicken,
chef's salad, mashed sweet potatoes baked in
orange shells, ice cream.

for rebuilding any body. Watch your cat
and try to imitate his movements. He
humps his back into a bow, then he almost
touches the floor with his stomach; he
stretches one paw out after the other ; he
relaxes, he pulls himself taut; he never
hurries, but he's very thorough. Before he
has finished he has stretched and relaxed

every muscle his body possesses. _ Try it!

Here are some other stretching exer-
cises : H

Lie on the bed or on the floor. Stretch
the arms above the head as far as you can
reach, at the same time pointing the toes
down as far as they will go; hold it; then
relax. Raise arms over head slowly, re-

for July 1935

laxed. Then lie on right side and repeat;
on left side and repeat; face down and
repeat.

Lie flat on back with legs over the edge
of the bed, arms clasped back of the head,
feet together. Stretch legs outward as far
as possible, then downward, then upward,
outward again. Relax between.

Lie on right side and make pendulum of
upper leg, forward and back in wide circle.
Relax. Repeat on other side.

Deep breathing should be an essential
part of any diet-and-exercise routine.
Breathing exercises practiced before and
after meals are excellent to reduce waist
and abdomen. Stand erect, hands on hips,
and inhale from the very depths of you ;
hold the breath a second or two, and grad-
ually exhale with an even whistling sound.
Repeat a dozen times.

Again, stand erect, clasp hands over
abdomen; contract the muscles of the ab-
domen and bend at the hips to the right
six times and then to the left six times,
keeping the muscles well contracted
throughout the bending ; rest by taking
three or four deep breaths between the ex-
ercise. Then lie on the back, and slowly
raise both legs to perpendicular position,
lower them slowly to the floor. Repeat
four times.

Of course, as I'm always saying, youth-
ful appearance can be preserved by main-
taining good posture and a springy step.
An incorrect posture ages anyone.

A simple routine for keeping muscles in
trim is this one : Stand erect at a window ;
raise arms as high as possible over head,
rising on the toes and inhaling as you do
so, hold the position for the count of three,
then lower heels and arms and exhale
quickly. Repeat.

This will stir up circulation : Stand erect,
arms at sides, feet together. Spring quickly
to a stride position with knees slightly bent,
throwing arms up over head, touching
hands together. Jump back to starting-
position and repeat rapidly five times in
succession.

With feet slightly apart, arms out-
stretched at sides, bend and touch the left
toe with the right hand, reaching up as
far as you can with the left hand ; come to
erect position and repeat with left hand
touching right toe, and right hand raised
high. This exercise is excellent for the
liver.

A hot and cold shower may follow your
exercise period; then give the body a brisk
rub down with a Turkish towel.

But don't think you can begin to exer-
cise enthusiastically if you haven't exer-
cised for years. Overdoing it is as bad as
underdoing it. Muscles that are unused to
exercise shouldn't be forced until they have
had a chance to limber up gradually. So
start in a small way.

Some women who suddenly notice there
seems to be more of them than there used
to be, decide to go in for sports. They
see a tennis court opening in the neighbor-
hood and because they were pretty good at
tennis when they went to school back in
'21 or '19, they think they will join the
tennis club.

Maybe it's all right. But my advice is
to see your doctor before you go in for
anything so strenuous and have him ex-
amine your heart. If he says "Go ahead" —
OK.

We don't read with our minds, it seems
to me. Every day or so someone brings
me in a clipping saying that Mr. So-and-so,
who is 63 years old, runs three miles a
day for his health ; or Mrs. This-and-that
has just celebrated her 79th birthday by
swimming to Catalina or somewhere. The
person who brings in the clipping thinks
that because the old gentleman or the old
lady still survives, that is the way to stay
young.

Lhree
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NAME ;

STREET

COMPLEXIONS

EYES

HAIR

Very Light □

Fair - O

Creamy □

Med.um D

Ruddy O

Sallow O

Freckled □

Olive D

Blue Q

Gray O

Green O

Ha/el O

Brown □

BUk O

BLONDE

Light— □ Dark.-D

BROWNETTE
Ught__a D«k..a.

BRUNETTE
Light__0 Dark_D

REDHEAD
Ught.JJ Dark— O
IfHwiiGtaysM
type abair and hf't . D

LASHES.C^
Light □
Dart„ _□

SKIN Dry □
O.I/ D Normal D

ACE

Everyone looks at

NOTE, when next you meet sorneone,how
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same instant is searching for something of
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loveliness. Just a simple brush stroke of
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Interesting? More than that; it's bewitching
in the fullest sense of the word. Try it your-
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be sure you use genuine Maybelline . . . the
non-smarting, tear-proof, harmless mascara,
approved by Good Housekeeping Bureau
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and the new Blue . . . 75c ... at all drug and

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MASCARA

It isn't. These two people may be two
in a thousand. The rest of us can't hope
to swim channels and run miles unless we
are sure our mechanism will stand it.

Too much sleep is sometimes responsible
for the putting on of flesh. A healthy
woman from 21 to 45 years of age needs
no more than eight hours of sleep. So
don't go in for naps unless you are under-
going some strain.

Most Hollywood stars have swimming
pools. Claudette Colbert, Carole Lombard
and Elissa Landi are devotees of the early
morning swim. They'll never be over-
weight.

Swimming is an excellent way to reduce,
as it is to build up the body. If you can't
go in for the real thing, try the swimming
exercise routine. Lie face down across a
piano bench or ottoman. Place palms of
hands together elbows bent. Shoot hands
out in swimming movement, bring them
to sides and back in circular movement,
at the same time bend the knees, feet to-
gether, and kick feet out, as you would
do if you were in the water. If you find
it difficult to do the feet and arm move-
ment together, try them separately.

Those who worry over wide hips may
vary the usual hip-rolling exercise with
this one : Lie on the back, keeping heels
on floor, rise to a sitting position, with
arms crossed on chest. If it's hard to
rise, begin by flinging arms out to give you
an impetus. When you can do the exer-
cise easily, increase the pull by clasping the
hands at the back of the neck before com-
ing to a sitting position. The sitting posi-
tion should always be erect.

Hands are an index to any woman's age.
You've heard that one before. But it's
really simple to keep the hands young.
Stimulate the circulation, don't let them
get dry and rough. Use a hand-brush for
your hands. If you find the skin dry, use
an oil-base soap and oil-base cream at
night. Massage your hands, using a cream,

AT YOUR SERVICE

James Davies stands ready to help you
with expert advice regarding exercises,
diets and sane, healthful ways to gain
or reduce weight. If you wish his ad-
vice on figure development, write him.
Of course, it is not possible for him to
answer your letter by mail, but all rep-
resentative questions will be answered
in this magazine, so please don't send
envelopes for return reply with your
letter. Address James Davies at
SCREENLAND Magazine, 45 West 45th
Street, New York, N. Y.

D. McR., Dubuque, Iowa, and L. C,
Galena, III.: The only exercise I know
of that will increase height is swinging
from a gymnasium bar. This stretches
the spine. Almost any gym has an exer-
cise bar, and your local Y. W. C. A. can
tell you where to get one if you wish to
install it at home.

All of you who queried about diet and
exercise: It is wise to combine diet with
exercise, unless your doctor forbids exer-
cise, or unless you are under-weight, when
you will need a building-up diet to combine
with your exercises.

Joan J., Jackson, Miss., and Roslyn S.,
Brooklyn, N. Y.: Yes, your hips are far
too wide. You can afford to lose quite a
bit there. Try hip-reducing exercises in
this and next month's issue. Here is a
good one : Sit cross-legged on floor, grasp

SCREENLAND

Mary Boland, whose health rules
James Davies reveals, with her
co-star, Charles Ruggles.

rub them together, stretch them and shake
them, relax them and feel the youth return.

Youthful movement depends a good deal
on the suppleness of the knees. Keep your
knee muscles responsive.

Stand with both feet turned slightly out-
ward, one foot a bit advanced. Rise on
balls of feet, then slowly flex knees deeply,
rise again, lower heels. Repeat half a
dozen times.

Stand erect, hands on hips. Take a long
step forward with right foot. Bend both
knees so left knee touches floor. Rise
quickly and step forward on the left foot,
flexing knees as before. This time the
right knee touches the floor. Take a dozen
long steps in this fashion.

toes with hands firmly ; swing feet back
over head, still holding toes, and rock
back and forth ; then touch feet to floor
over head. Try it until you can do it !

Dorothy C, Goldsboro, N. C: You are
under-weight. Do your daily routine less
strenuously and go in for body-building
foods. Drink ovaltine at night before go-
ing to bed.

Mrs. L. C. W . of Atlanta: and all who
write about reducing fatty thighs: The
quickest way to rid yourselves of these
fatty bulges is to put yourselves into the
hands of a good masseur. If you can't
afford this, try the cupping massage to
soften the quadricep muscle. Here is a
good exercise for this trouble : Lie on
your back on the floor. Raise both legs
at right angles with body, feet together.
Open legs in V shape ; close and open
10 to 15 times.

Mack, Miami, Florida: For that muddy
complexion, drink at least 8 glasses of
water a day, eat plenty of fresh vege-
tables, salads, and fruit. As you are under-
weight, drink milk and have broiled steaks
often. Follow exercises in this issue.

Mable K., Omaha, Neb.: Do NOT dis-
card your glasses ; there may be more be-
coming frames on the market, though I see
nothing wrong with the ones you're wear-
ing. Exercises for eyes work when the
muscles are affected, but not for near-
sightedness. Men don't object to girls
who wear glasses ; that's a silly idea ! Don't
let the idea of glasses hold you back.

James Davies Answers Your Questions

for July 1935

Page Miss Glory

Continued from page 31

him as she rushed on the field. It had
seemed impossible at first to get there in
time, but here she was and there was his
plane skimming over the ground and be-
ginning to soar. There was the breathless,
unspoken wish. If only she could be with
him winging her way through the sky, so
close to the stars and the moon she could
almost reach out and touch them with her
hand ! It would be beautiful even to die
with a man like Bingo.

All the next day she went around in
a dream, her thoughts in the clouds with
Bingo. And then the breathless announce-
ment from the radio : "Flash ! Bingo Nel-
son made it ! The Quadruplets are saved.
Stand by, everybody, while we transfer
you to the flying field at Nome where Bingo
Nelson has just landed."

There was a sudden rush of tears to
Loretta's eyes. Bingo was safe, his voice
coming to her as though he were in the
room beside her.

"Hello, everybody ! I never could have
done it without Dawn Glory's picture be-
fore me all the way. If she is listening in
now, I'm asking her to be my wife!"

The quick, almost unbearable joy was
gone. It had been such a beautiful dream
she had carried in her heart, but it was
over now ; and she sighed as she gathered
an armful of fresh towels from the linen-
room and went into Click's suite.

Bingo's words breathed life into Dawn
Glory, made flesh and blood of a photo-
graph that had never existed. Almost as
soon as he had signed off, reporters were
besieging Click, demanding an interview
with the girl who had captured the heart
of the nation's latest idol.

"Miss Glory is in bed, completely worn
out." Click was thinking fast and talking
almost as fast as he was thinking. "A
case of over-exposure. I can't discuss her
private life with you but maybe tomorrow
I'll have another statement."

He slammed the door on the protests of
the press and motioned weakly towards the
bottle of Scotch on the table. But before
Ed could pour him a drink the telephone
rang.

"It's the National Radio Network!" He
covered the mouth piece and turned to Ed.
"They want to broadcast Dawn's answer
to Bingo to the nation and they'll hook-
in our telephone connection to the broad-
cast ! This is too big to slip by !" He
looked frantically around the room and
then his eyes snapped as he saw Loretta
coming out of the bedroom.

"Hey, come here, you !" he shouted, "and
say what I tell you to say over the phone."

"Click, no! She'll gum it all up!" Ed
warned desperately, but Click had already
grabbed Loretta and brought her to the
phone.

"Dawn Glory's here, beside me," he
turned to the telephone again. "She's ready
to speak. Say when !"

There was a moment of waiting as the
connection was tuned in to the broadcast.
Then the warning from the announcer,
"Ready with Miss Glory? You're on the
air."

"Say, 'this is Dawn Glory speaking. I'm
the happiest girl in the whole world today.' "
Click coached her and then as she repeated
the words in a dazed, poll-parrot way he
went on, "Tell my hero Bingo Nelson I'm
waiting for him with open arms."

With his name on her lips her voice
changed, became suddenly alive again and
warm. When she repeated after Click,
"And here's a kiss for him and the whole
United States," it was a girl in love speak-
ing, a girl whose ecstatic voice brought a

7, .

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It is the magic of Jantzen- Stitch that gives
you an amazing degree of natural-line
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smile of sympathy to everyone listening in.
A girl whose voice sent Bingo Nelson in
far-away Alaska into a tailspin of delight.

"That was kind of fun," Loretta turned
limply away from the phone. "You know
for a minute I kinda felt like I was Miss
Glory. You know, the kiss part !"

Almost every girl in New York was be-
ginning to feel she was Dawn Glory.
Beauty shops all over the city were fea-
turing Dawn Glory bobs and Dawn Glory
finger waves and Dawn Glory plucked
eyebrows until girls from Tenth Avenue
to Park began to look as if they had all
been poured out of the same mould. Even
Loretta paid half a week's salary to look
as much as possible like the girl who had
captured her hero's heart.

The Dawn Glory popularity deluged the
suite where Click and Ed and Gladys were
struggling against this gigantic Galatea
they had created. Every mail brought
prospects of an aluring contract of some
sort or other for the imaginary beauty,
Dawn Glory. Nemo Yeast offered two
thousand dollars for a weekly beauty talk
on their broadcast and their rival company,
Royal Yeast, doubled the amount. Messen-
ger boys staggered in under boxes of candy
and fruit and flowers ; dress manufacturers
sent samples of the new Dawn Glory styles.

A gold-mine lay before their dazed eyes
and they were unable to get even a solitary
nugget out of it. And Slattery, the star
reporter of the Express, was beginning to
get ugly under Click's persistent refusal
to allow him to interview Miss Glory. He
had something on Click, too, a little inci-
dent out of the past that Click preferred
to forget.

There was only one thing to do. Make
a clean breast of the Dawn Glory hoax
and throw himself on Slattery's mercy.
Even if the story broke and they would
have to return the prize money it would
be better than having a rather unsavory
chapter of his colorful past career revealed
at this late date.

"No such person as Dawn Glory?" Slat-
tery laughed when Click finally blurted out
the truth. "Who do you think I am? Lit-
tle Boy Blue?"

"He's telling the truth," Gladys insisted.
"Click invented her."

"And I'm her Daddy," Ed put in glumly.

Somehow with all of them explaining at
once how the idea had been born and how
Ed had made the composite photograph,

Slattery was beginning to believe the fan-
tastic story in spite of himself.

But Click congratulated himself on the
success of his story too quickly. Just as
Slattery was opening the door to go, Bingo
rushed past him into the room.

"Where is she ?" He shouted. "Where's
Dawn?"

Slattery's eyes hardened and he stepped
back into the room.

"Look here, Bingo," Click protested.
"You can't break in on me like this. I'm
busy."

But Bingo hadn't defied blizzards and
death in his race back from Nome to be
put off as easily as this.

"Lay off me." He eyed Click belliger-
ently. "Since when can't a guy give his
girl her engagement ring? Look," he
pulled it from his pocket with a fatuous
grin. "I just got it! It's all engraved
and everything."

"Come on, Bingo," Ed took his arm.
"Can't you see Click's busy?"

"Wait a minute." Slattery put in
sharply. "This Dawn Glory is your
sweetie — eh, Mr. Nelson?"

"My sweetie?" Bingo shouted. "I'm
going to marry her!"

"Thanks," Slattery's mouth clamped
over the word. His eyes were blazing as
he turned to Click again. "Chiseler ! I'm
giving you exactly half an hour to produce
the girl — or else !"

Click saw it would be impossible to con-
vince Slattery now, and he was seeing a
fortune slipping through his fingers when
the two left.

"We'll have to beat it," he said wearily.
"The game's up."

Gladys started fearfully as the buzzer
rang but it was only a messenger with an-
other box from a dress manufacturer.

"Look!" she laughed bitterly as she
opened the box. "Another Dawn Glory
dress ! Hey," she called as Loretta opened
the door gingerly and came in with an
armful of fresh linen, "take this in the bed-
room with you."

Loretta sighed rapturously as she closed
the door behind her. She had never seen
anything so lovely before and she couldn't
resist the temptation to hold it in front of
her and see how she would look in it. It
brought out the blue in her eyes and made
them look like the cornflowers in the mead-
ows back home. Only her cheeks and lips
looked pale against the deep blue of the

Jane Heath will gladly send you personal advice on
eye beauty if you drop her a note care oj Department
C-7; The Kurlash Company, Rochester, N. Y. The
Kurlash Company of Canada, Toronto 3.

Conference on "Page Miss Glory." Here you see Director Mervyn LeRoy,
extreme right, "running through" a scene for the new Marion Davies pic-
ture, with Frank McHugh, Pat O'Brien, and Miss Davies listening in.

for July 1935

Noah Beery is another Hollywood
star signed for British films.
Above, with his son, Noah, Jr.

dress, which accented her trim figure.

She took her vanity case from her apron
pocket and stenciled a deep geranium over
her lips and dabbed her cheeks with rouge.
And then, trembling at her own temerity,
she slipped out of her uniform and into
the glamorous dress.

Funny, with her eyes shining like that
and her hair curled in the new Dawn Glory
bob and her eyebrows plucked to the Dawn
Glory pencil line, she looked like Dawn
Glory herself. She smiled, and somehow
the resemblance became even more striking.

Gladys started as she opened the bed-
room door. For a moment she thought she
had gone crazy, really crazy, and little
wonder, too, with Slattery followed by al-
most every other newspaper man in the
city breaking into the suite and demanding
his pound of flesh in the person of Miss
Glory. Then she saw it was only Loretta.

Click himself had never thought of a
scheme more quickly than Gladys did now.
If the girl could fool her, she could fool
anybody. And if a Dawn Glory could be
produced for a gasping world there was no
end to the fortune they could all make.

"Listen," she whispered frantically.
"You're Dawn Glory, understand ? You
can act like her, can't you? Act as if
you're the most beautiful girl in the world?
Now when I tell you, come out."

She opened the door and laughed as she
heard Click trying to brazen his way out
of the situation.

"Well, if Garbo can get away without
being interviewed, why can't Dawn Glory ?"
Click was saying. "She's a bigger name
than Garbo right now."

"That's all right, Click," Gladys could
hardly speak in her excitement. "Maybe
the time has come to draw aside the veil
of mystery. It might be better, after all,
to let them see Dawn Glory. Now, boys,
go easy on our little girl, please. She
frightens easily."

She stepped aside — and Loretta walked
slowly out of the bedroom, with her hand
on her hip and undulating a little as she
walked, like the mannequins she had seen
in newsreel fashion shows. Slowly she
drifted past the admiring reporters, past
Click's incredulous stare, and posed for a
moment in front of the window. The sun
pouring in changed her hair to molten
gold, and her smile was like the opening of
all heaven.

Only that morning she had been Loretta,
the drab chambermaid, making beds and
dusting and emptying ash trays. Afternoon
had come — and with it, magic. Suddenly,
here she was. Dawn Glory, the most beauti-
ful girl in the world !

(To Be Continued.)

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Our natural skin scents
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essence, body rub-down, skin fragrance
and facial astringent. Incidentally, lilac
shades are high fashion for clothes.

for July 1935

Will Rogers

Continued from page 25

is cagey with his money; that he guards
it too closely. During his Roach comedy
days, he often let his checks accumulate for
weeks. This used to worry C. H. Roach,
Hal's father who was treasurer of the
company. Mr. Roach would remonstrate
with Will, but the latter would only grin
shyly and say, "I just can't remember to
get that pay check."

One night when Roach accompanied
Rogers home from the studio, he was in-
troduced to an old family friend — Jim Min-
nick, a horse dealer from New Mexico.
Will had a habit of removing his glasses
and fingering them, when he wasn't read-
ing, (he still does it). This dirties the
lens, and Mrs. Rogers spends much Of her
time cleaning the glasses. That night,
when Rogers absent-mindedly removed his
spectacles, his wife complained, "Oh Will,
now you've got your glasses dirty again,
and I'll have to wash them."

Minnick looked at her and commented,
"Why don't you just wash his thumbs,
Betty?" Will still laughs about that re-
mark. When he is too persistent about
removing the glasses, his wife reminds him
of Minnick's crack, and back on the nose
go the specs.

Rogers' silent pictures were not prof-
itable. Roach soon agreed with Sam Gold-
wyn that Will's humor had to he heard,
rather than seen. At the end of his first
contract option, Will himself decided to
quit the screen. He gave a stag dinner in
a log cabin in the garden of his home, to
which he invited Roach, Mack Sennett,
William S. Hart, and other prominent men
of the day. At the conclusion of the din-
ner, Will announced that the guests had to
furnish their own entertainment.

"I'm tired of making speeches," he said.
"I want every guest to get up and give a
truthful account of why he quit work and
started in pictures." Some weird stories
followed.

Before he could carry out his plan to
leave Hollywood, Will agreed to make one
more feature picture. It was "A Texas
Steer," and Rogers played the role of a
Texas rancher who was elected to Con-
gress.

"I was picked for the part," said Rogers,
"because all the rest of the actors in Holly-
wood had morality clauses in their con-
tracts, and were afraid to act like Con-
gressmen."

During the filming of "A Texas Steer,"
a constant parade of government officials —
Senators, Congressmen, and lesser digni-
taries— visited the studio sets. Will's pierc-
ing satires had touched them through his
writings ; no doubt they were curious to
know if they were to be kidded in the pic-
ture. A funny incident occurred one day
when a chap in top-hat and cutaway ar-
rived. Rogers glanced at him and drawled,
"How're you, Senator?" But the man was
no Senator ; he was an extra with a com-
pany at work on an adjoining stage. Later
Rogers said to him, "I'm sorry I called
you 'Senator.' You ain't sore, are you?"

"A Texas Steer" was Will's an revoir
to Hollywood for a long time. In 1923,
he left the film colony. The next few
years found him back on Broadway, or
traveling about the world. His only mo-
tion picture experiences during this period
were a series of comic scenics, titled
"Strolling Through Europe with Will
Rogers." They were classics of humor,
and are still being exhibited in theatres.

In 1929, Rogers returned to Hollywood.
Talking pictures were then in full opera-

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tion, and the screen now had found a way
to capture the charm and personality tf
Will's voice, as well as the rich wit and
wisdom that fairly roll off his tongue.
His first picture on his second advent into
cinemaland was "They Had to See Paris."
It was an immediate triumph. The man
who had failed in Hollywood a few years
previous, now became a box-office sensa-
tion.

He was given a bungalow dressing-room
at the New Fox studio, but it was so
elaborate he refused to use it. "I come
to work in my picture clothes," he ex-
plained, "and I don't wear make-up. I
ain't going to spoil that pretty house slop-
ping around in it."

Soon after completion of "They Had to
See Paris," Will raced to New York to
take Fred Stone's place in a show. Stone,
a lifelong friend, had broken his leg in an
airplane crash. When he heard about the
accident, Will wired C. B. Dillingham, the
show's producer: 'I'LL PINCH HIT
FOR FRED UNTIL HE CAN DANCE
AGAIN." Rogers and the producer never
talked once about salary. Dillingham sim-
ply mailed a signed check, and invited the
star to fill in his own figures. It was
Will's own stipulation that the theatre bill-
ing read, "WILL ROGERS, PINCH-
HITTING FOR FRED STONE."

His next picture was "So This Is Lon-
don," a sequel to "They Had to See Paris,"
and one of the very few pictures ever to
re-assemble an entire cast. "Lightnin' "
followed, and established a .team that has
since appeared together many times — Rog-
ers and Louise Dresser.

Then came "Young as You Feel," in
which Rogers for the first time donned a
full-dress suit. The real task, though,
wasn't getting him into the suit. The hard
job was persuading Will to put oil on his
hair and slick it down. "I feel like a
drugstore cowboy," he muttered. "If any
Senators was to see me now, I'd sure be
ashamed of myself."

In 1931, he abandoned his screen career
for a few weeks, and made an aerial tour
of the territory affected by the Mississippi
river floods. He worked in the interests of
the sufferers, making personal appearances
and turning the proceeds over to charity.
He was credited with raising funds suf-
ficient to feed 150,000 flood victims. While
legislators were sitting around wondering
what to do, Rogers did it.

That same year, Los Angeles was having
difficulty raising money for the Community
Chest. Rogers volunteered to appear for
one week in a Los Angeles theatre. His
salary — $12,500— was turned over to the
Chest.

"Connecticut Yankee," Rogers' next step,
looms as his only "spectacular production."
"Ev'rybody in pictures has got to do an
epic, and this is mine," Will said of "Con-
necticut Yankee." "Now I can hold my
head up again." When sequences were
made during which the principals and
thousands of extras wore knights' armor,
Rogers remarked : "They ought to dress
our Congressmen in these tin outfits. Then
they could go around beatin' on each
other's iron suits, and that's the only way
I know they could make more noise with-
out doing nothing, than they do now."

During "Business and Pleasure," Rogers
organized his own studio quartette, com-
posed of an electrician and two grips. Will
sang his famous "high tenor." Between
scenes, the foursome would get their heads
together and harmonize everything from
grand opera to jazz-time. Those same
three workmen still belong to the crew
that makes Rogers' pictures ; Will demands
them. The quartette is as good as some
that get paid for entertaining on the radio.
This love of singing dates back to his Hal
Roach comedy days, when Will, Charley

Chase, director Leo McCarey, and a grip
or juicer, (electrician), formed "The
Roach Quartette, Songs Sung to Order."

Writing Rogers' cinematic biography is
a matter of quoting smart quips, where in
past cases of other stars, it has consisted
of relating experiences during production.
So let us proceed to Will's next picture,
"Ambassador Bill." One of his prize wit-
ticisms of all time was uttered by Rogers,
when a studio official said to him, "Prince
Mdvani, (the often wed Georgian Prince),
would like to meet you." Will answered,
"I'll meet him, but I'll tell you right now
— / won't marry him!"

"Down to Earth" and "Too Busy to
Work" were made without hap or mishap.

Next in line was "State Fair," the Fox
all-star picture which had in its cast :
Rogers, Janet Gaynor, Lew Ayres, Louise
Dresser, Norman Foster and others. When
Will and the cast met on the set the first
day, he looked around meditatively, and
murmured, "Looks like my easy days are
over. I gotta learn to act if I'm goin' to
hold up my end with all you people."

He recalled these words later when a
prize-winning hog was imported for the
picture. "Finally got a feller in the cast
that can't out-act me," Rogers said. In-
cidentally, Will was the lone member of
the cast who did not shy away from the
giant hog. He and the porker became good
pals. Will accomplished this by feeding
the hog daily, and thus "getting in good"
with the brute. "Hogs is different from
folks," he remarked. "They don't bite the
hand that feeds them."

"Doctor Bull," "Mr, Skitch" and "David
Harum" followed in rapid succession.
Then came "Handy Andy," during which
the star appeared clad in a leopard skin —
nothing else. Now Will is no youth, and
everyone was amazed by the shapeliness of
his bare legs. He explained that with, "I
oughta have good legs. Look how long I
was in the Follies."

Rogers turns out more pictures than
most of the important stars. Rated tops
among the box-office attractions, he is the
surprise of Hollywood in that he never
complains about how often he works.

During the filming of "The County
Chairman," Will was engaged on the set
when an assistant director notified him of
the arrival of a man with a bust of Rogers.
"Does the statue look like me?" asked the
star. "Well, it hasn't got wrinkles," the
assistant admitted. "The man wanted to
see you before he put in the wrinkles."
Rogers chewed his gum thoughtfully, then
said : "If he's over twenty, send him home.
He'd never live long enough to put in all
the wrinkles."

Margaret Sullavan, back -from her
honeymoon abroad. A welcome
home to you, Margaret!

Her mirror

is saying . . .

"YOUR BREAT
IS BAD!"

for July 19 33

Rogers had the time of his life, during
the filming of "Judge Priest," promoting
the romance between Anita Louise and
Tom Brown, who played young lovers in
the picture, and are real-life flames. Will
often called them" to one side and gave
them bits of wise advice. The sage sayings
he uttered about marriage would make a
good book. Of course, he is in a position
to advise, because his own marriage is one
of the longest-lived and happiest in Holly-
wood.

There was a chap in this picture who
was a wonder in the art of tobacco-spitting.
His screen scenes were trivial compared to
some of his real feats, such as spitting
through a fence knot-hole from twenty feet
away. Will tried to compete with this
man, but gave up in disgust. "Spit from
my chewing gum," he complained, "don't
hold together like your tobacco juice."

"Life Begins at Forty" is the next step
in his screen biography. The director of
this picture had heard that Rogers was a
great quit-promptly-at-five-o'clock actor,
but he learned that this rumor is no more
than that — a rumor. The company usually
quit at that hour, but Will often worked
later when there were big scenes to be
completed, or when there were large sets
crowded with extras, whose hold-over
meant considerable added expense. Other
times, he would wait around the set an
hour or so, even if his own scenes had been
completed.

During the making of "Life Begins at
40," a famous Hindu who has not spoken
for more than a decade visited the set. The
non-talker and the much-talker were intro-
duced. Will commented, "So you haven't
said a word in more than ten years?" The
Hindu smiled and bowed in assent.
"Mighty smart man. Mighty smart man,"
Rogers said. "Everything's been said any-
way."

The latest addition to his long list of
fine pictures is "Doubting Thomas." Billie
Burke is the leading lady, and she was cast
for the role at Will's own request. She
is the wife of his former employer, the late
Florenz Ziegfeld, and is one of his best
friends.

The cast also included another of
Rogers' old friends, Andrew Tombes, with
whom Will staged his famous barefoot act
for the "Follies" in 1923. This act ran
three minutes in front of the curtain, while
scenery was being changed behind. Will
thought it up himself; he and Tombes
came out of the wings doing an "Off to
Buffalo," dressed in tails and top-hats but
wearing no shoes. The sketch was a riot,
and people howled throughout. The two
men sang, too, but the laughter during
their act was so loud and long that nobody
ever learned the words of their song.

Will is usually preoccupied on the sets.
He is either reading newspapers in search
of ideas, or writing his daily or Sunday
newspaper columns, or conferring with di-
rectors or the managers of his various en-
terprises. Because of this, he has little
time for jokes and stunts, common to many
other stars.

He has the happy faculty of being able
to sleep anywhere or any time. He can sit
in a chair and go sound to sleep. Fifteen
or twenty minutes later, he will wake up,
full of pep and ready to go.

Thus ends the screen cinematic biography
to date of motion pictures' most respected
star, and Hollywood's least interviewed
man. He is important by reason of his ac-
complishments, but inconspicuous by reason
of his own reserve and modesty. There is
no show-off about Rogers. He has been
known to walk five miles across country to
see old friends, when he could have a
cavalcade of cars if he so wished.

He is a Democrat, politically and in
truth.

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This is to certify that the average circulation per issue
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Copies Sold 221,400

Copies distributed free 26,322

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Inside the Stars7 Homes

Continued from page 9

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Divide into jars and seal when cool.

After the informal meal, Joel stretched
out on the clover next to the summer-house
and Frances brought a cushion and sat
close beside him.

"We all need a siesta after eating," as-
serted Frances. "Relax ! It's wonderful !
I used to be so nervous and tense. I'd
rush along at fifty miles an hour, my poor
silly brain speeding ahead of me, worrying
about what it had to do next. Now, that's
all over. Ranch life has taught me to
relax. Eat slowly, enjoy your food, rest
afterward and then work. Also don't try
to do everything at once. I feel like a
new person !"

Joel and Frances can't help talking about
their ranch. The tree problem, for ex-
ample. Joel is directly responsible for a
dozen Monterey cypress trees that he has
planted on a hillside near the water tank.

"I went shopping for trees last week,"
observed Frances, "and I saw the most
beautiful old elm that I could have had for
$400 — I'd rather have a tree than a fur
coat any day ! — but it was so big the state
highway department wouldn't let me bring
it over to the ranch."

The house is another absorbing topic
with the young McCreas. And no wonder !
The living-room walls are of white-
washed brick and knotty pine with a drift-
wood finish. There's a big fireplace with
a lion-skin before it, and the furniture con-
sists of family heirlooms with the exception
of an old-fashioned organ.

"We searched everywhere for that organ,"
remembered Frances, running- her fingers
over the yellow keys, "but we couldn't
find one. We'd given up when Mother
discovered it in a little Sunday School in
Santa Monica. It's a relic of old Califor-
nia days. I had it reconditioned and reno-
vated. It's such fun fixing up a house !
But very difficult getting things that belong-
together. You see, we use a lot of home-
spun draperies and so on, and plenty of rag
rugs, hooked rugs, old oil lamps wired for
electricity. You must see that sampler in
Joel's room. His grandmother worked it
herself !"

"God Bless Our Home," says the sam-
pler, hanging over Joel's beautiful rosewood
bed, another old family piece.

I think He does, for Frances and Joel
are very sweet to one another ; they seem
to have something other couples haven't —
something intangible and precious, besides
that very tangible and beloved young Joel
Dee, who appeared briefly in a blue sun-
bonnet and sun suit.

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for July 19 33

The Mad, Merry Set

Continued from page 19

performance. Did they have fun ! Bob and
Chet were given Oriental costumes with
long twirling mustachios and fierce eye-
brows and told to lead the elephants, while
Betty and Sue rode up on top dressed up
like Fatima, the Sultan's Favorite. They
lead the big parade around the tent and who
should be sitting in a prominent box but Mr.
Louis B. Mayer of M-G-M, none other than
their "boss." As they passed Mr. Mayer
Bob shouted at Chet, "I hear 'Reckless' is
awful. And personally I couldn't hand
'David Copperfield' a thing. Who makes
those lousy pictures?"

And there was the time that Chester and
Sue were asked by Somebody Important to
entertain guests from the Middle West, a
little task that every movie star has wished
on him from time to time. All guests ar-
rive in Hollywood with the idea that all
stars are idiots and imbeciles so Chet and
Sue decided to live up to their advance
publicity. They invited the Montgomerys,
and when the guests were shown into the
exquisite Morris drawing-room they were
greeted by Chet and Bob wearing nothing
more or less than shorts, tuxedo jackets,
mustaches and derbies.

Bob and Chet are always playing jokes
on each other, the most recent one involv-
ing a horse. Bob bought a beautiful filly,
but to his dismay discovered that the horse
was possessed of an insane desire to sit
down in public places and just relax. So
Bob, with a beautiful gesture of friendship
and a lot of "my old pal" hooey, gave the
nag to Chet for his birthday ; and with
Sue and Betty and a gang of friends
parked along Sunset Boulevard in Beverly
Hills to see Chet try out his horsemanship
on the famous bridle path. All dolled up
like an Englishman riding to hounds, Chet
appeared, and fired with ambition by an
audience decided to treat them to a little
horsemanship. But the filly had other
ideas ; she decided to sit down right in the
middle of the bridle path, and just as a
sight-seeing bus crammed with movie fans
passed by.

Another grand irresponsible couple, who
are insane in a nice way, are the Dick
Barthelmesses. While other actors are
worrying lest their public forget them Dick
blithely goes on round-the-world tours for
months at a time. At five minutes to six
Dick may suddenly announce that it would
be nice to go to China ; and a few hours
later, he and Jessica, giggling like a couple
of kids, will be on a steamer tooting its
way out of Los Angeles Harbor.

Dick and Bill Powell have been pals for
a long time and they are constantly "rib-
bing" each other much in the manner of
Montgomery and Morris. One of the best
ribs, I think, was the night soon after
Bill had moved into his elegant new Bev-
erly Hills mansion. The phone rang and
an official of the Hollywood Water and
Power company asked to speak most ur-
gently to Mr. Powell. "Mr. Powell," the
voice came over the phone frantically, Tm
calling from the Hollywood Water and
Power Company. I must warn you that
the Los Angeles reservoir has just broken
and that the pipes in your house are in
grave danger of bursting unless you turn
on all the taps and continually flush the
toilets." Dick and Jessica arrived fifteen
minutes later to find Mr. Powell's beauti-
ful mansion sounding like Niagara Falls.

Bill's house alone would make him
eligible for life membership in the Fits
and Convulsions Club. Bill has a door-
knob complex, and is definitely queer for

push-buttons ; in fact, he's completely nuts
on the subject of push-buttons. So every-
thing in his new house is controlled by
buttons. He pushes a series of buttons,
(something like the combination of a safe),
and his big massive gates open. "I dislike
solitude," Bill told me recently at Carole
Lombard's party, "so by a push of the
button I can hear what's being said in
every room of the house. I loathe door-
knobs, so I have buttons installed on the
floors in front of every door and when I
step on the button the door flies open.
In my private theatre if I notice that my
guests are yawning and are quite bored
with the picture I merely press a button
and out from the walls pop two disappear-
ing beds so my guests can take a little nap
in complete comfort. Perhaps I have
overdone it a bit, though," he admitted
vaguely, "for I don't seem to be able to
find half the buttons." Which reminds me
that the first night Bill came home to his
new home he completely forgot the com-
bination of gate buttons, so tophat, tails,
and all, he had to climb over the wall,
only to be greeted in the driveway by a
huge horse-shoe of lilies with SUCCESS
on a purple banner — a tender little thought
from ex-wife Carole Lombard.

The mad, merry little doings of Bill
Powell are innumerable. He likes to re-
cite poetry to blank walls ; he likes to carry
on long conversations over the phone that
don't make sense ; and never, never can
he remember to get to a place on time.
Poor- Jean Harlow's servants never know
when they will be able to announce dinner.
But Bill played a nifty on her at her last
dinner party. "I will give him until eight-
fifteen," Jean said quite definitely to her
guests sprawled over her white drawing-
room, "and if he isn't here by then we'll
just eat without him." Came eight-thirty
and a furious Jean and her famished guests
simply fell into the dining room. There
sat Bill, quite suave and debonair, (despite
the fact he had just slipped in). "My, my,"
he said gaily, "I thought you'd never come.
I've practically finished the olives."

Carole Lombard is definitely on my list
of eligibles. She is but divinely insane,
with the swellest sense of humor in Holly-
wood. If you are a friend of hers you are
not the least surprised when the phone
rings at three in the morning and she mer-
rily informs you and she and Fieldsie will
be over in fifteen minutes to take you to
Big Bear where she has a cabin. Carole
has never left for Big Bear at a respectable
hour. She does everything on the impulse
of the moment, unless Fieldsie, her secre-
tary, can manage to hold her down, which
is practically a case of the blind leading the
blind, as Fieldsie herself is so vague that
often she forgets her own name. Carole's
madness has me in stitches constantly, but
it was last January in New York that I
nearly died. I had come East on the train
with Carole and at every station there
were crowds of people, and in New York
mobs and cameras every place she went.
One afternoon the manager of the RKO
Music Hall invited us on a tour of his
famous building which rises fifty-five
stories into the air. We worked up and
after we had "ohed" and "ahed" over the
beauty of the view from the top we took
an elevator down. To a couple of Holly-
wood hicks used to nothing taller than Tom
Mix's ten gallon hat that trip down on the
elevator seemed to take hours. Finally the
door opened and we stepped out into a
lonely lounge. "What, no one to meet

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. . . is using this space to correct a
popular error about ASTROLOGY

Astrology is no more related to "Fortune
Telling" than is a Doctor's advice to
eat certain foods and avoid cer-
tain infections.

— Or the caution of a Beach Guard
that you should keep inside the
ropes at high water. Both tell and
caution, but do not COMPEL.

Just so Astrology tells, but does not
compel; it cautions, restrains or indi-
cates action on certain Dates and

about certain things.

These favorable and unfavorable Dates
are not matters of chance, but deter-
mined by mathematical progression of
Star positions from the exact time of
your own Birth.

That the advice is good and the Dates
are accurate can easily be accepted,
because of Astrology's absolute ac-
curacy upon intimate personal matters,
known only to you.

Applied Research Society forecasts
guide the lives and guard the acts
of countless Men and Women in
Business, Banking, Education and
the Theatrical and Medical
Professions.

Read letter from Doctor S. H. J.:

"I was certainly amazed at the accuracy and deep
knowledge you have displayed in casting this
Horoscope.

I have had work of this kind done many times,
in India, Germany and the United States, and I
can truthfully say that the work done by you has
been the most accurate.

I am sending you the enclosed remittance to cast
a Horoscope for a young lady who was born on
the 17th. 10 A. M."

These Forecasts are very detailed (about
20,000 words) and cover full 12 months
from date it is sent to you.

Being based upon your Birth Date, we
must be informed where, what year,
month and date you were born.

YOUR Forecast will be sent, sealed, for
one dollar (bill or check) which will be
refunded if you are not fully satisfied
and return the Manuscript.

Or, if you simply enclose a 3c stamp
for postage on reply, the Society will
advise of certain Dates important to you.

APPLIED RESEARCH SOCIETY

76 Prospect Street • Marblehead, Mass.

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Dear me, my space is running short and
I've only scratched the surface as 'twer.
We'll have to make this snappy or Auntie
Bess will get the shears, not the Norma
Shearers. Kay Francis is one of my fa-
vorites because she is so delightfully in-
consistent. Kay, who is called "Hetty
Green" by her friends, or are they, pays
fifty dollars a month for the most modest
house in Hollywood, has no chauffeur, no
butler, no nothing, and you can almost see
the glamorous Kay feeling a dollar so
tenderly before deciding to part with it.
Then all of a sudden Kay will throw a
party at the Vendome, which she has con-
verted into a ship or a farm for the night,
that will cost thousands upon thousands of
dollars. Then she'll haggle over the
grocery bill for a few weeks, finding little
ways of cutting it down a few cents, and
then with an utterly sublime gesture she
will sail for Europe in the royal suite of
the Conte di Savoia. She just doesn't
make sense.

Charles Laughton I must include because
Charlie has made the best under-statement
of the Grand Canyon I have ever heard.
On his way out from New York last year
he made a stop-over to see America's mag-
nificent canyon, and as he stood there in
the spot where millions have stood inspiried
by such grandeur to think of God, and
poetry, and the marvels of nature, Mr.
Laughton merely shook his head and said,
"Tsch, tsch, tsch!"

Charlie has a mad passion for Alison
Skipworth, and his first day on the Para-
mount lot he grabbed Skippy in a wild
embrace and told her that she was the
most devine creature that ever lived and he
must make a picture with her at once.
"Tut- and fiddlesticks!" snorted Skippy
"I'm a homely old woman. I'm clever-
yes, but I'm homely." "Darling," thrilled
Mr. Laughton, "you are the most divine
woman in the world." This romance has
lasted through the years that Charlie has
been here. I was never quite sure of his
madness until the day I was interviewing
him and in the midst of my discussion of
the English drama Mr. Laughton said,
"Can you wiggle your ears?" And pro-
ceeded to show me that he could.

Myrna Loy is eligible for the Club be-
cause she has never lived in one spot in
Hollywood longer than six months. She
has had houses and apartments all over the
place, but at the end of six months invaria-
bly she moves. I once asked her about
this. "It's the tramp in me," she said.
"I really would like to go stomping all
over the East and Europe, but I've always
been so busy I haven't left California since
I came here years ago. I crave new at-
mosphere and new surroundings, and I
can't travel, so I just move."

George Cukor, that director of hits; has
to be included because of that mad house
he has built on the side of a Hollywood
hill. It started out as a ' few rooms and
was quite cozy, and then all of a sudden
George started adding to it and now it
rambles indefinitely in every direction. To
his surprise one morning as he was look-
ing over a new wing George discovered
that he has to go through every room in
the house to' get to his bedroom. As if
the house wasn't mad enough, George ups
and brings back from Europe with him
some mother-of-pearl furniture that is quite
the most insane thing you've ever seen.
George thought to play a trick on his friend
Billy Haines who is decorating the house
by buying the furniture himself in Europe
and thereby saving money. He paid eight
hundred pounds for it, (approximately
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that Billy, even in his maddest moments,
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/«?>• July 19 33

He-Man of Song

Continued from page 51

Mildred Harris, first wife of
Charlie Chaplin, returns to the
screen in "Black Sheep."

The production of "Naughty Marietta"
was set late in 1933, or a whole year before
it actually went before the cameras — due to
one delay after another. Finally the studio
heads prevailed upon W. S. ("Woody")
Van Dyke to direct it.

"Van Dyke, you know, has had lots of
success with inexperienced actors," young
Mr. Eddy, still on the subject of his pro-
fessed belief that he is not an actor, was
saying. "What he did to me, I still don't
know. There were no 'pep talks,' none of
those speeches like 'young man, we're all
with you, etc' Van Dyke treated me just
as he did the other experienced actors, his
attitude implying that I could act the
scenes as he instructed."

Eddy laughed heartily as he recalled
that, following the "Naughty Marietta"
preview, when Van Dyke asked him how
he liked seeing himself in his first picture,
the actor, seeking to say he thought it fine
but did not know how to carry his newly-
conferred honors, replied "Great, but I
don't know how to act." Whereupon Van
Dyke cut in with a laugh and said, "You're
telling me?"

If proof of a sense of humor is ability to
enjoy a laugh on yourself, Eddy must quali-
fy as the possessor of a sense of humor.
He told about working particularly hard
one day. "I was almost groggy, hadn't
had a thing to eat for hours, though the
other members of the company had. I
couldn't get the words of a song straight,
and suddenly decided to let it go until I
had had something to eat. I started to walk
off when Van Dyke called, 'Come back
here.' I told him I wasn't going to do
any more till I'd had a rest and something
to eat. 'Come back and finish this scene,'
Van Dyke ordered. Then I decided I
might as well find out who was more im-
portant there, Eddy or Van Dyke. I de-
cided Van Dyke was, and finished the
scene."

By this time Eddy seemed to be craving
action ; he was pacing about the room,
talking about his hopes for what he will
be given to do in his future films.

"I'd like swashbuckling roles. You can
be a little 'hammy' in them without any
harm to the performance. Also, I know,
from meeting so many theatre men during
this concert tour, that both they and the
public they serve like romance. It need
not be especially 'important' or 'significant'
drama, but romantic as to story."

The new star says he likes the variety

of work he is doing now. "Radio, concert,
pictures, the work is all dovetailing nicely.
I get so many fan letters telling me that
the writers saw me in the picture and heard
me on the radio, and a surprisingly large
number mention having seen me in concert.
Incidentally, the fan mail has grown so
greatly that I'm having a time keeping up
with it. I used to think I was a big shot
when I got fifty letters a week. Now a
week's mail brings in more than a thou-
sand."

As to getting back to Hollywood, Eddy
said he'd be glad to be there and have a
rest. "Out there," he added, "you don't
have to go to parties unless you feel like
it." He has never figured prominently in
the lists of those present at the parties and
gay spots, and perhaps the explanation of
the absence of reports linking him roman-
tically with the fair ladies is that
he. claims he "takes a girl out because
he likes her company, not merely to flash
her for the sake of getting my name in
the papers."

Nelson Eddy is so much news as of the
immediate present that there doesn't seem
any reason for talking about his past. How-
ever, so many have been inquiring "where
has Nelson Eddy been all this time" since
seeing him in "Naughty Marietta," that
you may want a few brief detials.

Well, he was born in Providence, Rhode
Island, is a descendant of President Martin
Van Buren ; and Caroline Kendrick, a
famous singer of her day, was his grand-
mother. Eddy started singing as a boy in
the church choirs of Providence. His fam-
ily removed to Philadelphia when he was
about fourteen, and in the Quaker City he
made his start toward a career as a news-
paperman. His interest in singing con-
tinued, but he wasn't serious about it until
the late David Bispham heard him sing and
told him he could make a career as a singer.
Then Eddy's interest, under Bispham's
coaching, became so great that an adver-
tising agency for which he was working
told him he'd better tend to one thing or the
other.

That same agency, incidentally, now
makes out handsome checks to Nelson
Eddy in payment for appearances at the
microphone. Eddy's first stage appearance
was in a society musical show, and in due
course he was singing Gilbert and Sullivan,
and later operatic roles with the Philadel-
phia opera company. Now he commands
thirty-two operatic roles, and sings in
French, Italian, Spanish, Russian as well
as English. He has been abroad, studied
brieily in Dresden and Paris. Eddy went
to Los Angeles in March 1933, a not es-
pecially well-known concert singer at the
time. He received an ovation, and M-G-M
signed him for pictures.

If you are one of those simile adders,
you might "Add : as blue as Nelson Eddy's
shirts." Every time this writer sees him,
Eddy is wearing a bluer shirt than the one
he had before, and the only way you can
find him wearing anything but a blue shirt
is to see him in pictures, or at a concert,
like his recent New York recital, when he
was a fashion plate in formal afternoon
garb.

When I met him for this interview the
shirt was of a blue that would have paled
those Joseph Urban stage back-drops ; the
collar encircled by a tie with dots and
squares of various ' shades of blue on a
white ground, blue socks, and, believe it or
not, a handkerchief even bluer than his
shirt, peeping from the pocket of his
double-breasted blue suit. Come on, movie
color !

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SCREENLAND

Mississippi
Paramount

Colorful, tuneful, romantic, and very
amusing — in other words a good show based
on Booth Tarkington's story about a young
Southerner who refuses to fight a duel and
then gets the ficticious reputation of being
a "killer" when he becomes a show-boat
singer. Bing Crosby plays the hero role
effectively and has some fine tunes to sing;
W. C. Fields is his laughable best as cap-
tain of the boat, and Joan Bennett is lovely.

The Bride
of Frank-
enstein
Universal

This new horror epic starts where that
other thriller, "Frankenstein," left off. You
must not miss it if you like chills and shiv-
ers with your entertainment. Boris Karloff
is superb as the monster, while Elsa Lan-
chester as the mate created to be his bride,
offers a splendid performance. Una O'Con-
nor, Colin Clive, Valerie Hobson and O. P.
Heggie turn in fine jobs in support. A sure
thriller, lavishly staged and photographed.

My Heart
is Calling

Gaumont-
British

Something of a musical treat, as it gives
personable Jan Kiepura some splendid
chances to render operatic arias as well as
lighter music. It's worth your while hear-
ing this star sing. The story is somewhat
routine, but it manages to be fairly pleasant
comedy about an opera troupe's difficulties
getting an engagement in Monte Carlo.
Attractive Marta Eggerth, whom you saw
in "Unfinished Symphony," is the heroine.

Mary
Jane's Pa
Warners

A new treatment of the Enoch Ardcn
idea, with Guy Kibbee as the disappearing
husband and Aline MacMahon the waiting
wife. Even the fine work of fine troupers
as principals and supporting players suc-
ceeds in doing little with the attempted
pathos when Kibbee returns to find his wife
preparing to marry again, and taking a job
as a cook in his wife's household in order
to hold the family together. It misses fire.

TAGGING
the TALKIES

Delight Evans' Reviews
on Pages 54-55

Cardina
Richelieu

Magnificently staged melodrama that is
also exciting historical romance, with
George Arliss in the best role he has had
since "House of Rothschild." The intrigues
and pageantry of the court of Louis XJ1I
have been turned into a really stimulating
show. Edward Arnold, Maureen O'Sulli-
van, Cesar Romero, Douglas Dumbrille and
other fine players make up a notably good
cast. If you like historical films, see this!

Strangers
All

RKO-
Radio

May Robson in a story of mother love —
and only a mother could love the selfish,
boorish, three sons this widowed lady
strives to help and keep together as a fam-
ily unit. The daughter proves a little less
troublesome. Preston Foster, William
Bakewell, James Bush, and Florine McKin-
ney are the chillun. It has a court-room
climax with "mom" saving her communis-
tic youngest son from jail. Just so-so.

Spring
Tonic
Fox

A good cast includes Lew Ayres, Claire
Trevor, Walter King, ZaSu Pitts, Jack
Haley and Tala Birell, with a comedy spe-
cialty added by Frank Mitchell and Jack
Durant — struggling in. a story about a
girl who leaves home and husband and be-
comes involved with some bootleggers, ani-
mal trainers, and a newspaperman. An
escaped tiger provides the action. Impossi-
ble situations. It's tough on the good cast.

—Her
Love
Story

M-G-M

A lugubrious tale, convincing only as to
the realistic atmosphere in which is un-
folded the story of Vanessa Paris, and her
long separation from the dashing young
Scotsman she loves. It would be unfor-
tunate if this really is Helen Hayes' vale-
dictory as a film star, for through no fault
of hers or Robert Montgomery's, or Otto
Kruger's or others in a fine cast, these char-
acters never come to life, nor does the story.

The

Hoosier
School-
master
Monogram

You're going to like this very appealing
picturization of a famous novel dealing with
post-Civil war days and the romance of a
Yankee school-master and an orphan girl
"bound out" to an Indiana family. Norman
Foster has the name part and Charlotte
Henry is the girl. Both are excellent, but
Fred Kohler, Jr., is the star of the show.
This boy has an arresting personality and
real ability. Good entertainment for all.

Cowboy
Millionaire
Fox

This amusing, breezy Western is a real
departure from stereotyped "horse operas"
and should appeal to a larger field than
the routine Westerns. With George O'Brien,
Evalyn Bostock, Edgar Kennedy, Maude
Allen and Dan Jarrett in leading roles, it
offers entertaining light comedy as well as
a real story — one about an English girl and
a true westerner who- meet, fight, and
finally fall in love. You'll enjoy this.

Brewster's
Millions

United
Artists

Occasionally bright, but never brisk com-
edy with music, good dancing, and attrac-
tive settings. It's the up-to-date version
of the familiar story of the chap who must
spend millions to get more millions, with
Jack Buchanan, Lily Damita, Nancy O'Neil
and other capable English players main-
taining rather well the spirit of good hu-
mor. If you have not had enough musical
comedy to suit you, try this one, it's fair.

' / LOVE Y{

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She Knew Clark Gable "When"

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SCREENLAND f Of Au gll S t 19 3 5

t on Youth"

houid a girl marry a man of her own age
or should she choose a more mature husband?
Can a girl in her twenties find happiness with
man twice her age? Granted that May and
December are mismated; but what about June
and September?

Millions of girls for millions of years have
asked themselves these questions and attempted
to answer them in their own lives.

^\^w the question — and one of the several possible
answers — has been made the theme of one of the most
charming screen romances of the season, Paramount's
"Accent on Youth". . . As a stage play "Accent on
Youth" won acclaim from the Broadway critics and tre-
mendous popularity with the theatre-goers. Opening late
in 1934 it promises to continue its successful run well into
the summer of 1935.

Sylvia Sidney plays the screen role of the girl who
comes face to face with this age-old question. She is
adored by young, handsome and athletic Phillip Reed
and she is loved by the brilliant and successful but more
mature playwright, Herbert Marshall . . . Which man shall she choose? . . . That is the question
around which the entire plot revolves and to answer it in print would spoil the delightful suspense
which the author, Samson Raphaelson, developed to a high degree in his original New York stage
success and which Director Wesley Ruggles maintains with equal success and charm in the screen play.

In the supporting cast are such well-known players as Holmes Herbert and Ernest Cossart. The latter is
playing the same role on the screen as that which he created in the original Broadway stage production.

(Advertisement)

Delight Evans, Editor

Elizabeth Wilson, Western Representative Tom Kennedy, Assistant Editor Frank J. Carroll, Art Director

Event!

A New Serial
of Hollywood by

Thyra Samter Winslow

Thyra Samter Winslow, author of
such overwhelmingly popular novels as
"Picture Frames" and "Show Girl,"
portrays Hollywood in her newest and,
we believe, her most fascinating fiction
depicting the modern scene. And it
is with extreme gratification that
Screenland announces publication of
this deservedly popular author's newest
novel as a serial to begin in our Sep-
tember issue.

The author knows Hollywood. There
she wrote an original screen play, "She
Married Her Boss," soon to be put into
production with Claudette Colbert as
the star, and to be made at the studio
which sponsored "It Happened One
Night," in which Claudette and her
co-star Clark Gable gave performances
that won them the Academy awards.

Thyra Samter Winslow has created
her new fiction story from the real life
of Hollywood, its people and the
scenes behind the screen with which
she has been in intimate contact for
some time.

Plan NOW to read this vivid and
vivacious romance of Hollywood begin-
ning in Screenland for September, on
sale July 25.

August, 1935

Vol. XXXI. No. 4

EVERY STORY A FEATURE!

An Open Letter to Myrna Loy Delight Evans

She Knew Clark Gable When Grace Simpson

Telling What's Ahead for Hollywood Stars Rupert Hillyer

Evolution of a Platinum Blonde. Jean Harlow Elizabeth Wilson

Beau Brummell No. I. James Cagney Muriel Babcock

What Chance Has Your Original Screen Story? Beth Brown

Creating the Color Craze Helen Harrison

Second-Guess Stars Leonard Hall

The Inside Career Story of William Powell James M. Fidler

Sewing Circle for Hollywood Wives Dorothy Manners

Glamor Girl. Fiction Vicki Baum

Marion Davies Contest 43

Page Miss Glory. Fictionization Elizabeth Benneche Petersen 44

Reviews of the Best Pictures Delight Evans

Screenland Glamor School. Edited by Bette Davis

Fields in Clover. W. C. Fields' Life Story Ida Zeitlin

9
10
12
14
15
16
18
20
22
24
26

46
48
50

SPECIAL ART SECTION:

Behind the Masks of Hollywood: Maureen O'Sullivan, Ann Harding.
Mummers Without Masks. Girls Most Likely to Succeed. Friendly
Rivals: Bing Crosby and John Boles. Beauty on a Pedestal: Claire
Trevor. Glamor Out of Doors: Gertrude Michael. Something Old!
Something New! Something Borrowed! Something Blue! Great Scott!
Randolph Scott. Bathing in Beauty. The Most Beautiful Still of the
Month.

DEPARTMENTS:

Inside the Stars' Homes. Ann Dvorak Betty Boone 6

Honor Page 8

For Beauty's Sake Elin Neil 52

Hollywood Figure James Davies 53

Here's Hollywood. Screen News Weston East 54

Radio Parade Tom Kennedy 57

Salutes and Snubs. Letters from Readers 58

Screenland's Crossword Puzzle 66

Ask Me 64

Femi-Nifties 78

Tagging the Talkies. Short Reviews 90

Cover Portrait of Jean Harlow by Charles Sheldon

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office :< 400 North Michigan Avenue, Chicago. Adv. Representative, Loyd B.
Chappell, 511 S. Alexandria Ave., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention
but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada;
foreign $2.50. Changes of address must reach us six weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class
matier November 30, 1923, at the Post Office at New York, N. Y., under the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1935.

Member Audit Bureau of Circulations.
Printed in the U. S. A.

IN A

HOLLYWOOD PROJECTION ROOMS

Together,
A GREAT
STAR and
a NEW STAR

The hush in the Metro-Goldwyn-Mayer projection room turned
to a muffled whisper... the whisper rose to an audible hum...
and in less than five minutes everybody in the room knew that a
great new star had been born — LUISE RAINER — making her
first American appearance in "Escapade", WILLIAM POWELL'S
great new starring hit! It was a historic day for Hollywood,
reminiscent of the first appearance of Garbo — another of
those rare occasions when a great motion picture catapults a
player to stardom.

William Powell adds
another suave character-
ization to his long list of
successes. . .and Metro-
Goldwyn-Mayer swells
the longest list of stars
in filmdom with an-
other brilliant name
— Luise Rainer!

Aristocrat, sophisticate, innocent— one wanted romance,
the other wanted excitement— but one wanted his heart
— and won it!... Sparkling romance of an artist who dab-
bled with love as he dabbled with paints. ..and of a girl
who hid behind a mask — but could not hide her heart
from the man she loved!

with

LUISE RAINER

FRANK MORGAN
VIRGINIA BRUCE

REGINALD OWEN
MADY CHRISTIANS

A Robert Z. Leonard Production
Produced by Bernard H. Hyman
<lA Metro-Qoldwyn-Mayer Picture

SCREENL.

nsi

Come to Sunday
Breakfast at Ann
Dvorak's! We
promise you a gay
good time

omes

Betty
Boone

Ann Dvorak in a corner of
the patio of her Andalusian
farm-house in the San Fer-
nando Valley. Note the
lovely wall niche.

Hollywood hostess presides
at her breakfast table, set
informally in the patio in
true California style. "Have
a cup of coffee on me!"
smiles Ann.

ANN DVORAK and Leslie Fenton— "Mr. and
/\ Mrs. is the name" — have a thirty-seven acre
J % walnut ranch in the San Fernando Valley, not
fifteen minutes' drive from Warner Brothers
Studios. Shut away from boulevards and sight-seeing-
bus travelers, with rows of spreading trees seeming to
reach to the horizon any way you look, the Fentons'
Andalusian farmhouse seems an oasis entirely cut off
from Hollywood. Perhaps that's one reason the favored
few who are invited to Ann's famous Sunday break-
fasts never say no.

Every guest does as he pleases here. They come in
from whatever they have been doing — working all night,
horseback riding, hiking, going to church, or just
sleeping — and make themselves at home. There's a blue-
tiled swimming pool, stretching from the clover lawn
Leslie put in himself to the aisles of walnut trees in
the grove. Those who feel like it join their hosts in a
morning swim before gathering in the patio for breakfast.
Those who aren't in the mood for swimming, rest or
read or talk, or even take a turn at gardening.

"We're so informal that breakfasts are about the only
sort of entertaining that appeals to us,'" observed Ann.
"Sometimes we serve it at 9:30, sometimes at 11 :30, and
if we are feeling very grand, it may be a high-noon
affair. How would you like a menu from one of each
of these breakfasts? Of course, it isn't always the same,
but a sample menu might be interesting. The first is
only appropriate for the first meal of the day, but the

Exclusive photographs by Scotty Welooume made
especially for the Screenlaxd Service Section

other two could be used for light luncheons if you like

The 9:30 breakfast menu:

Tomato juice and sherry
Griddle cakes cooked at the table
Little pig sausages (kept hot in an iron
kettle over the fireplace)
Coffee

Fresh pineapple (served last)

The 11:30 breakfast menu:

Baked ham with pineapple crust
Curried eggs

for August 1935

Asparagus with drawn butter
Hot biscuits
Coffee
Fresh fruit if desired.

"I'm no cook," said Ann with charming
— and characteristic frankness — "but my
cook tells me this is how to fix the baked
ham. It's simply marvelous !"

"The ham should be baked very slowly
in an open pan, in a very 1 rw oven, allow-
ing 25 minutes to the pound — add no
■water. Bake the ham with the rind on,
removing it about an hour and a half
before it is done. Then cover it with the
following pineapple crust: One cup brown
sugar, combined with one cup of well-
drained crushed pineapple and one-half
cup white bread crumbs. Score the fat
part of the ham and pat the crust com-
pletely over the top. If not sufficiently
brown when the ham is done, place under
a slow broiler for a few minutes.

"A delicious sauce to serve with this
dish is made by beating a cup of cream
stiff and then adding three tablespoons of
horseradish."

Curried Eggs
6 hard cooked eggs
6 slices of toast
Onion
1 cup stock

1 cup milk

2 teaspoons cornstarch
1 " butter

curry powder
Salt and pepper.
Remove shell from eggs and cut in
quarters lengthwise, arrange on toast.
Rub bottom of pan with slice of onion.
Mix cornstarch and curry powder. Make
a sauce of stock, milk, cornstarch and
curry powder, butter and seasoning and
pour over eggs and toast.

High-noon menu:
Crab-avocado Croustades
Asparagus with drawn butter
Sauted fruits (peaches, pears, bananas,
pineapple)
Hot biscuits
Coffee
Sherbet.

"I don't know whether the rest of the
country is as wild about avocados as we
are," Ann remarked, "but the crab-avocado
croustades are a favored dish around here.
Aly cook tells me that this recipe serves
eight."

Crab-Avocado Croustades
2 cups milk

2 tablespoons butter

3 . " flou-
1 teaspoon salt

1 cup flaked crabmeat
1 medium sized avocado

Heat milk, rub butter, flour and salt
together, add hot milk and stir until
smooth. Return to fire and boil briskly
for 2 or 3 minutes, stirring constantly.
Add flaked crabmeat.

Cut the avocado into rather large cubes,
saving a few strips for tops. Add the
cubes just before removing the creamed
crab from fire. Serve in croustades, made
as follows :

Cut squares of bread about three inches
:.quare and two deep. Hollow out cen-
ters and toast top and bottom. Brush
sides and top with melted butter.

The day I was at the Fentons Ann
served lamb chops with the little pig
sausages, as well as creamed potatoes.
The fruit was fresh-picked strawberries,
served with stems on, set on a circle
around small individual plates with little
heaps of powder sugar in the center.

"That is a special dish of our Chinese
couple in the kitchen," Ann told me. "The
Other night they decided to surprise us

(Continued on page 72)

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SCREENLAND

SCREENLAND Honor Page

To Bergner, who in "Escape Me Never"
gives new meaning to screen art

One of the very human scenes in the Bergner
picture in which the great Elisabeth as
Gemma comforts Hugh Sinclair, as Sebastian.

SHE is something new: a screen star who refuses to be
"typed." There is no "typical Bergner role." This Elisa-
beth can play any role. She gives us Gaynor's girlishness,
and Garbo's mystery. She can be a Hepburn hoyden, or a com-
plex Crawford; she never bores us because we never know just
what part she will be playing next. And yet by the alchemy
of her curious art she weaves all her moods and emotions into a
harmonious whole, creating a character never to be forgotten.
As Gemma Jones, wistful waif or amorous imp or whatever you
want to call her heroine of "Escape Me Never," screen version
of her famous play, Elisabeth Bergner bears out all the predic-
tions that she will conquer American audiences as she has already
won England and the continent. Art is international. Elisa-
beth's personal appeal is universal. So everybody's happy!

From comedy to
tragedy, and all with-
in the range of Berg-
ner's art: left, a
touching close-up
from the film.

Bergner the gamin — one of
the many phases of her act-
ing genius. She combines
the piquancy and charm of
a child with the emotional
maturity of a woman.

for August 1935

pen Letter to

My rna

Just a little wrinkle In the stock-
ing makes any movie queen more
human! Contrast the friendly Myrna
Loy, right, with the aloof siren,
above. Which is the real Loy?

EAR MYRNA:

Let's get this straight.
Just who are you, any-
way? Do you know? Does any-
body?

Friendly, freckled Western
Gal? Aloof exotique? Sophis-
ticated siren? The 3-in-l Woman,
that's you. Well, I wish you'd
make up your mind which per-
sonality you're going to favor. It
would make life so much sim-
pler for all of us.

I'll tell you why I'm asking.
On your first visit to New York,
which had been practically hold-
ing its breath to witness you since
"The Thin Man," you appeared,
first, to press and public as a
charming, modest, unaffected and
very real person — so real, in fact,
that the very first press photo-
graphs exhibited you with wrin-
kled stockings. Now, every girl
who saw those pictures of you with wrinkled stock-
ings immediately thought: "I like that woman," be-
cause you showed such a refreshing lack of pose and
pretense, such a disarming "Take me as I am or not

at all and it doesn't much mat--
ter to me anyway" attitude. No
visiting screen star ever made
such a hit as you, Myrna, with
the press boys and girls and
everybody.

And then what? Well, take a
look at the other picture on this
page. What happened between
shots? The breezy, unspoiled,
grinning and wrinkled-socks girl
turned into a haughty cinema
queen at the drop of a night-club
topper. You elevated that deli-
cious already-retrousse nose of
yours as you haven't done since
your Nubi-the-slave-girl screen
days. You scared me right out
of my Nice Myrna mood into a
nasty reaction of "Oh, so you're
just another movie actress." I
hope I'm wrong; that news-
cameras can lie, that lights can be
too bright, that you aren't really
as bored as you look, and that it
takes more than a Manhattan
fling to make a blase woman of
the world out of one of the nicest
girls in Hollywood. Here's to
more wrinkles in the socks and
less in the forehead.

SCREENLA N 0

She Knew

"She" is Betty Collier, above, who
as "Beckie Kinard" played with
Gable in his stock company days.

Hollywood's favorite he-man hero talks freely and
frankly about old times as a struggling stock actor

By Grace Simpson

Here's how Clark looked, above, when
Betty knew him. Right, above,
when he first came to Hollywood.

WE WERE seated there, the three of us — a young
friend of mine, Betty Collier, who formerly acted on
the stage in Texas; Big Boy Gable himself, and ye
humble scribe — in the Metro-Goldwyn-Mayer com-
missary, about to indulge in the popular and quite necessary art of
eating. Clark had just flaunted Fate with a total disregard of cal-
ories, by ordering a thick steak of no mean proportions, with French
fries and all sorts of tempting fixings, topped with a raspberry ice !

"So this is the little Betty who used to dress up and portray boy
roles and, later, ingenue parts?'' mused Clark.

" Tis none other but," laughed that young lady, "but — it's 'Big'
Betty now !"

"Well, yes, you have changed quite a bit since I last saw you,'"
admitted Clark. "Let's see, you were about fourteen then, weren't
you? And you had been with that company many months before
I blew into town and joined your merry little band as a second
lead, eh? I bet your very first impression of me wasn't so hot,
either — confess now, that you never even dreamed I'd ever get to
first base as a movie actor!'' he chuckled.

Betty promptly "confessed." "It's true — that first impression
of mine wasn't so awfully favorable, Clark," she agreed. "Still,
after I knew you better, I thought to myself more than once that
someday you'd enjoy, well, at least, some measure of success."

"I guess, for a short time, I felt 'broke' as well as looked that
way," he grinned. "I know I was broke when I landed in Houston,
Texas, to begin an engagement with the Palace Theatre Stock
Company — broke, and with just one suit and one overcoat to my
name ! However, before leaving Hollywood and the extra roles
I was playing to fill that stage engagement, I had gone to a tailor
and had several cheap suits made up with the stipulation that they

an .Ai-K THEATRE

HOUSTON, TEXAS, NOVEMBER 6. 1927

"THE ENEMY"

A Drama by Charming Pollock

THE PERSONS
(In the order in which they speak)-

Carl Behrend - Gene Lewis

Pauli Arndt - - Helene Millard

Barusi{a - - Anna Laync s

Bruce Godon ■ CLARK GaBLE V

August Behrend - - Wilbur Hicby

Jan - Trevor Bardette

Dr. Arndt - . - - . . . JOHN ELLIOTT

Mizzi Winc^elman - * -~ Winifred Greenwood .

Kurt - Beckie Kinard v

Fntz Winckelman - - Stanley Smith

Stace Manager, Ben Ferris

The popular and successful Clark Gable of today,
belo*. gets a drive out of discussing old times with
old friends. Above, a stock company program
showing Gable's name in the cast, which also in-
cluded "Beckie Kinard."

for August 1933

Clark Gable "Wh

en .

be sent me C. O. D. right
after my first week's work
down in Houston came to an
end. So for the one week I
had to get along with that
one suit — and then, when I
received my week's pay, the
suit order came through,
causing me, by the way, to be
very much broke once again.''
''Remember how we'd learn
our lines, Clark?" spoke up
Betty.

"Sure I do," was his an-
swer. "We'd always sit in
one corner of the stage and
say 'em aloud — again and
again — while scenery and
what-not was being pushed
back and forth all around us.
You were very quick to grasp
things, and with kid-like
good-fellowship you'd come
over and sit down beside me
and listen to me recite my
part — and, if I recall cor-
rectly, you seemed to get lots
of fun out of just listening
to me !"

"Well, you were kind of
— er — that is — just a
wee bit slow in learning
your lines," explained
Betty in some confu-
sion.

"Just a wee bit slow my eyebrow !"
laughed Gable. "I was just plain
dumb ! "Don't be afraid to tell me so
— I can take it ! I'd spend more time
over my reading lines and memorizing
them than anyone else in the cast ! I'm
even that way today. I can't, to save
my life, sit down and read over my
part once and then know it like a long-
lost brother. Nope, I have to read
those lines over slowly, carefully, one
sentence at a time, and memorize as
best I can. Of course, it's pains-
taking work — just as in
(Continued on page 70)

at Gable, not too

famous to talk

The great
busy or
about the
he was

struggling company actor.

Did d

ays when

just a poor and

SCREENLAND

Norvell tells Frances Dee to sub-
jugate her career to the home.

Jimmy Cagney, above, listens
intently as Norvell predicts.

Marion Davies will win new suc-
cess in her new film contract.

Let's go star-gazing! See what's in
store for Hollywood idols. You'll be
as interested in Norvell's warnings
and wise advice as the stars themselves

Telling What's Ahead

IF YOU happen to be a prophet without honor in your own country, you might try Holly-
wood !
Now take Mahlon Norvell. At the age of twenty-five this amazing young man is a
popular local seer. And to prove that star-gazing is a remunerative trade, he lives in
a mansion and drives a Rolls-Royce !

He is the only man in the world who has interviewed Constance Bennett while she was still
in bed. And certainly the only man in the world who ever had an appointment with Greta
Garbo — and broke it !

Stars who high-hat producers and electricians, court Norvell's favor and listen tremblingly
to his advice and warnings.

Norvell was born in New York, and educated in the public schools. There was nothing at
all about his childhood to foreshadow his occult future. He yearned to be a movie actor, and
to write a novel, but was otherwise a perfectly matter-of-fact young man.

"It wasn't until late adolescence that I began to take an interest in astrology," he says.
"Then it was only something of a hobby. The stage was my goal. I began to basg around
the stage doors and theatrical agencies. In order to make myself known to and iderated by the
players, I read their charts. Actors are by nature superstitious. Their careers depend so
much upon chance, and their futures are always problematical. Of course* I always gave
them sincere readings. I interpret the stars exactly as I have been taught to do, and I never
embellish the messages I see in them. Things I predicted had a way of coming true, and I
soon gained a reputation as a soothsayer, and many of the biggest names in the theatre
sought me out. I could have made a good living at it ; but as I said, acting was what I wished

for August 1935

Ann Sothern listens to an astound-
ing prediction for her future.

Rupert Hillyer

Norvell foretold Jeanette IviacDon-
ald's success before it happened!

Joan Crawford will be married again,
says Norvell — but not to Franchot!

For H

ol ywoo

d Sta

to do, so for considerable time astrology was merely an interesting study for me.

"When I found that I was getting nowhere on the stage, I came to Hollywood. That
was five years ago. I was lucky enough to get on as extra, and to while away the tedious
waits on the set I gave the players readings." That was how it all started.

One night someone asked Norvell to attend a party at Pickfair. The Fairbankses were
receiving. Joan Crawford was newly married to Douglas, Junior. The usual important
people were there : Lady Mountbatten, Countess di Frasso, and others. The Junior Fair-
bankses were all aglow with the grande passion, and refused to be separated even for the
time it took Norvell to give them readings. He told them that their marriage would only last
about four years, which disheartening news they naturally refused to believe, being in the
"forever and forever" stage. Finally Mary dissuaded him from reading further because
talk of separation depressed her. There was already a breach in her romance with Douglas,
Senior, and she was trying desperately to overcome it.

Although Norvell's chief rival in Hollywood predicted that the Fairbanks marriage would
not end until death, Norvell predicted the actual termination of it. "Mary was unhappy dur-
ing I ut she seemed resigned to the inevitable," Norvell says.

P - lat Mary will never rewed, that she will seek solace in religion and work.

"Sb rer attempt reconciliation with Fairbanks, because their stars are at war."

Doug will probably marrv again. His is a romantic destiny.

"Joan Crawford will marry again — but not Franchot Tone. That would be a mismating,
accc ,' th< tars, and Joan has domestic happiness due in her chart. So she will very

likely . >ier choice. (Continued on page 79)

SCREENLAND

volution of

Dlatinum Blonde

How Jean Harlow has met success and sorrow since "Hell's Angels'

By Elizabeth Wilson

THE first time I interviewed Jean Harlow, five years ago come autumn, it
was definitely a favor to her. The last time I interviewed Jean Harlow,
just a couple of weeks ago, it was definitely a favor to me. The first time was
in New York City when Jean was making personal appearances with "Hell's
Angels," which was playing at the Criterion on Broadway ; and the blase Press up
to its eyebrows in Tony's gin and top-notch celebrities considered her just another
little Hollywood upstart, a flash in the pan, a fluke, a here-today-and-gone-tomorrow.
Her New York press agent, a swell gal named Tess, insisted that I must meet Jean
Harlow ; and after the proper amount of demurring I consented, bribed of course by
a luncheon at the Algonquin.

But my, my, how different the last interview was ! I received the assignment to
do a Harlow story only a few days before the deadline and at the Metro studio dis-
covered to my horror that Jean was finishing up "China Seas" on a closed set, no
visitors allowed, and under the strict supervision of a doctor and a trained nurse.
Furthermore, that the picture would be completed Thursday night and that Miss
Harlow's doctor had ordered her to remain in bed for a week of complete rest, and
the publicity department was not to disturb her. When you {Continued on page 63)

for August 1935

Beau Brummell No.

James Cagney, tough guy, exposed as "Jimmy the Dude"

By Muriel Babcock

IMMY CAGNEY is really a dude at heart! While he is stretching out one
arm to shove a grapefruit in a lady's eye, or sock a gent, he is pushing out the
other for a fitting from his tailor.

If you accused him of being one of the best-dressed men of Hollywood, he
would have catfits. Down in his heart, this funny pug-nosed, mickey-faced little Irish-
man knows he is a dude, but he wouldn't admit it for the world. But I hereby nomi-
nate him as Beau Brummell No. 1 of Hollywood.

Stop and think ! Not only is he a picture of sartorial elegance every time he goes
out — to the Mayfair, to the Trocadero, to the Philharmonic to hear a concert, to
a gay Hollywood party ; but someway or another he manages to get dressed up in
at least one scene in every picture he makes.

His suits, shirts, ties, socks, shoes are the last word in conservative good taste,
and how he can wear them ! I saw him one night looking magnificent in a tail coat
at the Mayfair ball, and two afternoons later the picture of the well-dressed conserva-
tive young business man at the Stravinsky concert. He had on a dark blue serge
suit, perfectly tailored and making his shoulders look even broader than ever. There
was the time at the Screen Actors' circus frolic that he (Continued on page 76)

Just glance at these pictures and revise your opinion of Cagney as the
hard-boiled socker of the screen! He's clothes-conscious in a big way.

SCREENLAND

What C nance

as i our

THE studio will buy your play.
Have you a "Merrily We Roll Along?" Then
keep your cab waiting downstairs while Metro
counts out $85,000.
Have you a "Page Miss Glory" made to measure for
Marion Davies ? Take a chair, they urge you at Warner
Brothers. The cashier will only be a minute writing
out your check for $72,500.

Have you a "Farmer Takes a Wife" for little Janet
Gaynor? Fox will not only pay you $65,000, but let
you keep the sterling silver fountain pen with which you
signed the contract, Mr. Playwright. Yes, the studio
will buy your play.

The studio will buy your book.

Have you written a book as good as "Good Earth,"
as fine, deep and moving? Is it a big, bad, best seller
like "Anthony Adverse?" Maybe your tome has the
chuckling, brittle quality of "The Thin Man?"

No, you won't need to take it down to Bertram Bloch,
editor of Metro ; or to Jake Wilk, at Warners ; or to

Tom Costaine at Fox on
Fifty-fifth Street; or to

Want to write for the movies? First
read this exclusive article, which
tells you the real truth

By Beth Brown

Oh, for another "Anne of Green Gables" to st?!- A
Shirley in! Above, Anne with Tom Brown in the film.

for August 19 3 5

O riginal Screen Story?

Russell Holman, twelfth floor of the Paramount Build-
ing, New York City.

Ye editors will send for your book. What's more,
they'll send for you. They'll ship you west by fast
plane and drop you via parachute behind a shiny new
desk at Writer's Row. Tiffany Thayer is there, swing-
ing his shingle at Paramount. Vicki Baum is on the
Metro lot. Bruce Manning is busy at Columbia. You
read their books. "One Woman." "Grand Hotel."
"Party Wire." Yep, they sold 'em for the cinema.

Got a book ? A good one ? The studio will buy it
and hire you to adapt it.

The studio will buy your short story.

That Academy prize winner, "It Happened One Night,"
with Colbert and Gable, was a short story authored by
Samuel Hopkins Adams. "Little Miss Marker" with
Shirley Temple was a short story for which please credit-
title Damon Runyon. "Crime Without Passion." "De-
sirable" with Jean Muir. "Rain," by Somerset Maugham,
first fell from the heavens as a short story, became a

play, a picture, and again a play with Tallulah Bank-
head. The list of short stories sold for the screen is
as long as your good right arm.
The studio will buy your song.

For Grace Moore. For Jeanette MacDonald. Rudy
Vallee. Bing Crosby.

Have you another "Blue Moon?" "June in January?"
"Believe Me, Beloved?"

Take it down to Tin Pan Alley. Take along an
armoured truck. You'll need it to bring back that
heavy do re mi.

But there's a catch. Your song must be sung. Your
short story must be published. Your book must be
printed. Your play must be produced.

You've an original manuscript?

Sorry ! The studio does not buy originals — from un-
knowns. It returns unopened, unsolicited manuscripts.
And if you're thinking of going to Hollywood to break into
the writing racket, take along your sense of humor and a
two-way ticket, there and back. (Continued on page 61)

Russell Holman,
right, eastern
production
manager of
Paramount; and
Bogart Rogers,
extreme right,
western story
head of the
same company.

Bertram Bloch, eastern story
head for mighty Metro, left,
below. Sam Marx, below, west-
ern story head of M-G-M.

If another "Moroc-
co" could be found
to co-star Marlene
Dietrich and Gary
Cooper, everybody
would be happy!

'The Thin Man" you'd

SCREENLAND

Robert Edmond Jones, guid-
ing genius in Hollywood's
latest artistic advance, be-
lieves that color will revolu-
tionize the screen. "Becky
Sharp" is his color creation.

Creating

olor-

Del Rio
Red!

Be among the first to salute the colors! Soon you'll see
your favorite stars in all the glory of their natural beauty,
giving you priceless pointers on clothes and make-up

By Helen Harrison

HE pictures have the blues!" is the joyous news which makes
"Becky Sharp" the movie shot heard 'round the world ! "Becky
Sharp," let us hasten to assure you, is no moanin' low St. Louis
woman, but a heroine right out of Thackeray's "Vanity Fair" — and
a colorful creature indeed if Robert Edmond (Emperor) Jones has anything
to say about it, and who, but he, has?

It was Miriam Hopkins, Becky herself, who bestowed the royal title.
Others have called him the Christopher Columbus of Color ; but Jones, who
prefers to think of himself simply as "a colorist," is unquestionably Holly-
wood's leader of the Rainbow Division.

At any rate he is convinced that color has landed in Hollywood. That the
situation is well in the hands of Jones also seems pretty firmly established.

"Reds and yellows," he admitted, "were always relatively simple. Blue, the
third primary color, was the stumbling block. It did not reproduce authen-
tically on film. Now we have it !"

That, of course, was only one of the things which have made color films,
up to the moment, not only a very costly innovation, but an unsuccessful one,
except for Mr. Jones' experimental short, "La Cucaracha." Today, films in
relation to color are precisely where they were, in relation to sound, back in
1927. What "The Jazz Singer" was to the talkies "Becky Sharp" is bound
to be to the color films of tomorrow.

What, then, is this going to mean to you and you and you and to me? And
the stars of Hollywood in their relation to us?

"A great, great deal !" said Mr. Jones, seriously. "No longer are fashions
going to be color-blind, nor are our backgrounds. Everything is going to
assume a new importance — the stars, their coloring", their gowns, their

settings ; and this is going to affect every woman, not
only in America, but in the world."

It's something like being in on the first telephone call
Bell made, or watching Thomas Edison project his
earliest motion picture, isn't it?

"With color-glamor, women will look younger, more
beautiful. There will be color rules for morning, noon,
and night. Women are going to see the screen stars as
they see themselves, and this is going to make for many
changes and many improvements in clothes and
coiffures."

"In this great unchartered sea, with our course di-
rected straight for the aurora borealis, just what rules
should Mrs. and Miss America follow ?" I asked, as I
knew you would wish.

"Let me quote Brillat-Savarin, the old French critic
who wrote 'The Physiology of Taste,' " he answered,
"who said :

" 'Eyes for the street;
Hair for the house ; and
Skin for evening.'

"That is excellent advice and should be appropriated
by women who want to be correctly garbed. Follow it
and you will have discovered the secret of true fitness.

"I am usually accused of talking in headlines," he
went on, in engrossed animation. "Sometimes the head-
lines are merely misquotations." He smiled. "For in-
stance, there was a furore about one which went like
this : 'JONES SAYS PLATINUM BLONDES MUST
GO!'

"Imagine my saying anything like that! As a matter
of fact, I feel certain Miss Harlow will be more splen-
didly platinum — more completely chromiumized than
ever — for she is far too intelligent a woman not to
realize the responsibility of keeping up her highly im-
portant end of the spectrum.

"Of course in Hollywood — and I want to say that I
am much impressed with the place, with the people's
minds there, the process and (Continued on page 67)

20 SCREENLAND

Second-Guess

OF ALL the great and glittering herd of movie
actors that munches on Hollywood's green
pastures, the happiest and luckiest is the little
group known as "second-guess stars."
You know them, for they wear that luminous look of
good luck upon their faces. They count beards, red-
heads, and white horses. They walk under ladders by
choice, and always sit down thirteen at table. Nothing
can touch them now !

For they are the boys and girls who, crushed to earth
like Truth, rose again. Once kicked into a snowstorm
by heedless producers, they popped out of the drifts
frozen but undaunted, and fought their way again to a
choice spot by the studio fire.

Many such gallant and fortunate souls roost among
the pink palazzos of Beverly Hills. They wear old scars
with pride, as living denials of the old prize-ring crack
that "they never come back." The high sign of their
lodge is a quick wink as they pass on the Boulevard.

One of the BIG second-guesses of the moment is the
case of Monsieur Charles Boyer, whose charm is now
causing a million women to forget to turn off the gas
under the potatoes.

It is hard to believe, in the light of his present fame,
that this fascinating Gaul played Jean Harlow's chauf-
feur in "Red-Headed Woman." This bit he volunteered
to do out of sheer ennui from hanging around the Holly-
wood lots. But — and here's the laugh that might have
been the tip-off to anybody but a producer when he
wants to overlook a bet — Boyer had a proviso that he'd
be snipped out of "Red-Headed Woman" prints shipped
to France, where he had a reputation as a ranking stage
star.

Hollywood had Boyer for two pictures prior to "Red-
Headed Woman." These were "The Magnificent Lie"
and "The Man from Yesterday," and if you remember
seeing those but not observing Boyer it's because you
sneezed during the show and missed the lad altogether.

Smart Walter Wanger second-guessed Boyer back to
Hollywood and the heights, and himself to fortune by
putting the Monsieur in "Private Worlds" with Colbert.
Now, in "Break of Hearts," the new Hepburn film,
Boyer is just great, and comes within a low, throaty
whisper of stealing the show from the Hartford Flash — ■
a trick that made Katie herself famous. Wanger has
Boyer for a long term, and Hollywood cusses into its
phoney beards.

Today the Royal Order of Second-Guesses is wel-
coming a new member — a vital and intense young blonde
named Julie Haydon. Bette Davis and Clark Gable
extend the right hand of fellowship to the recruit.
Grace Moore and Ann Sothern are teaching her the
password, and the grip of the lodge is being admin-
istered by Nelson Eddy and Myrna Loy. She has
joined the glowing ranks of those upon whom it wasn't
raining rain, but violets.

If you saw "The Scoundrel," you saw and probably
loved Miss Julie. It was this amazing brew of brilliance
and balderdash recently ground out by Hecht and
MacArthur to star that sinister sophisticate, Noel
Coward, which gave myopic Hollywood its second
guess on Haydon.

If you missed that movie about an epigrammatical
tom-cat, you will see the girl in a Paramount picture

Yes, that's really the
great Boyer in chauf-
feur's uniform, right,
in a scene with Har-
low from "Red-Head-
ed Woman," on his
first shot at Holly-
wood. Now look at
him — the films' new
romantic idol, below.

Ann Sothern, above, used to be
Harriet Lake, left, just one of
Hollywood's many pretty girls.

Constance Cumrnings today-
left — bears little resemblance to
the demure girl, above, who firsi-
tried her luck * pictures.

for August 19 3 5

STARS

Did you know that Charles Boyer once
played Jean Harlow's chauffeur? This
and other startling facts are told in our
inside story of famous second shots

Greatest second-
guess star of them
all: Myrna Loy. Left,
when she made her
first attempt to win
film fame, fresh from
dancing school. Be-
low, the Myrna Loy
we admire today,
poised perfection.

Grace Moore, above, thinks
back to her first screen experi-
ences as a Hollywood recruit.

Latest to win second-guess
fame: Julie Haydon, who scored
in "The Scoundrel," as she is
right; and as she was, above.

By Leonard Hall

one of these days. It was that outfit which "discovered"
her in "The Scoundrel," snapped a contract on her
dainty wrists, and marched her off to the west-coast
chain gang.

What a droll racquet, this cinema! Today Julie Hay-
don is a piping hot picture potato. Day before yesterday
she was just another eager young actress with nothing
to do but read "Variety" and wait for a play.

Hecht and MacArthur, combing the Broadway alleys
for a fresh young blossom to be plucked by the ominous
Noel, found Julie Haydon, tested her, and handed her
the part. When the critics saw the film they tossed
their old felt hats in air and went overboard with a
loud splash for "the new star flaming across the cinema
sky" and all that chi-chi. Paramount whipped out its
fountain pen and pointed to the dotted line.

And today, in Hollywood, little Julie sits on her re-
painted throne and snickers softly up her leg-o'-mutton
sleeve !

Naturally, a certain dank and delightful cynicism
dominates these second-guess stars, and why not ? They
have been through the movie mills before, and have
been ground exceeding small. They know, none bet-
ter, the prevailing smallness, blindness, heedlessness and
general astigmatism of the films.

So even while they are joyous at being discovered all
over again, and in having vice-presidents dusting off
their chairs in the front office, they no doubt feel a
sizzling sense of ironic humor. And as the press agents
let off their damp squibs hailing the new genius, the
second-guess probably goes into the bathroom, locks the
door and enjoys a loud guffaw.

Little Julie is getting another fast ride on the merry-
go-round of the movies. Maybe this time she'll grab the
brass ring !

The whole thing is gloriously and completely mad.
The boys and girls come to Hollywood ablaze with hone
and glory. Sometimes they are hailed as the greatest
genius unhung — and often they are. One or two parts
— maybe more. Then bad parts or dour direction, or
they get lost in the studio boneyard, or a supervisor
doesn't like the architecture of their noses — suddenly
they are so many knot-holes in the studio fence. Thor-
oughly among the outs, they are lucky to rate a quick
nod from the property boy who once fawned on them.

All of a sudden, for no discoverable reason, a director
with a good memory needs someone in a hurry. A pro-
ducer with vision sees something the other fellow missed
— and again they are among the ins, blazing merrily
away on the big time once more.

So it has been with little Julie Haydon, who now has
her dainty feet under Mrs. Paramount's kitchen table.
Twenty-five this last June 10, the girl has been around
AND around.

Watching her at the old Paramount plant on Long
Island where "The Scoundrel" was ground out, I noted
that the girl, for all her breathless young beauty, was a
serious, single-purposed artist. The typical second-guess
type. They never say uncle. Drop 'em down a well
and they strike oil. (Continued on page 62)

SCREENLAND

Powell, right, duels with Richard
Barthelmess in "The Bright Shawl."

Remember Bill Powell in
"Romola," with Lillian Gish?

Just one hilarious high-
light after another, this
account of Bill's movie
life .

James M. Fidler

His first character
hit, in "Beau Geste."

Another character
role, from "Senorita."

With Marion Davies in "When
Knighthood was in Flower."

Co reer Story of
William Powell

THE tiny screen-babe that was to be the brilliant
career of William Powell was born late in 1922.
The picture that ushered Powell into the film
world was "Sherlock Holmes," which starred
John Barrymore.

At the time, Powell was fairly successful on the New
York stage. He had already attracted the attention of
D. W. Griffith, who made tests of the actor. However,
of the venture,
this test, a dour young actor stood back of
the camera," says Powell. "I thought that was a breach
of etiquette, for one actor to sit in on another's test,
(since then, I have learned that the practice is common
in the studios), so I formed an immediate dislike for him.
That young man was Richard Barthelmess. Because of
my evident distaste for him, he also disliked me."

When Powell saw the test of himself, he threw up his
hands and walked out of the projection room. "I look

nothing came
"During

Greatest hit of Bill's career
was made with Myrna Loy in
"The Thin Man."

like a baked Idaho potato," he told director
Griffith, "or like one of those turnips that bear
the caption : "It grew in the shape of a man!"

Nevertheless, when he was called for a role
in "Sherlock Holmes" he responded promptly.
He was ill at ease for the first few hours, be-
cause his first scenes were with John Barry-
more, who was then the one big thing of
Broadway, merely "loaning" his services to the
screen. But Barrymore's first line of dialogue —
( these were silent picture days, of course ; dia-
logue reached the screen by way of titles ; still,
actors were supposed to speak the proper lines) — was to
have been, "My good young man, how would you like
to work for me ?" Powell was to have given an appro-
priate answer.

But Barrymore was in playful mood, so he spoke his
line : "Young man, how would you like to go jump in the
lake?" Powell responded without hesitation, "Next
Saturday, I will ; I never bathe during the week." Barry-
more let out a guffaw, and after that the two men were
on cordial terms, which made work easier for Powell.

For his first picture, Powell was paid f"'° hundred
dollars a week. He worked five one If weeks;
total salary, $1100.00. Pie receives n e that sum

for each working day of his present career.

"When Knighthood Was in Flo stai i *ng Marion
Davies, was his next picture. He y is .r this film

when the already-contracted villa | liece, Jose

Ruben, got a splinter of steel in hey called

for August 1933

Powell in his first talkie, "Interference,"
with Evelyn Brent and Doris Kenyon.

With Kay Francis in "For the
Defense" — the new team's first.

In a famous role
as Ph//o Vance.

Again with Evelyn Brent, in
"High Pressure" for Warners.

Clark Gable played with Bill Powell in
"Manhattan Melodrama."

The famous "One Way Pass-
age," with Powell and Francis.

Bill, not only because
he could play the
heavy role, but be-
cause they hoped he
might fit the uniform
that had been made
for Ruben. But Jose
was a man of small
stature ; Powell was
six feet tall. How-
ever, a rush order
brought another uni-
form, and Bill- got
the part

Dire b
Roberts n,
produce "The I
Shawl," saw Powell
on the screen and de-
cided he was the man for the villain's role in his new
picture. Without telling Bill the name of the star, he
invited Powell to come to his office. When he arrived
there, he met — Barthelruess. So Powell said to Robert-
son, "I don't think I can play the role. I could never
get along with your star." And in the same breath, Bar-
thelmcss said to the director, "Of all actors in New York,
you had to pick that guy !" But Robertson was adamant ;
furthermore, he was important enough to get what he
wanted. So within a few days, Powell, Barthelmess,
and the remainder of the (Continued on page 80)

>r John
about to

SCREENLAND

How do Mrs. Cable, Mrs.
Cortez, and other cinema
consorts spend their time while
their husbands are toiling? This
refreshing story tells you

HEA GABLE just phoned to
say she'd be a little late.
She's shopping for sweaters
for Clark. Don't wait lunch
— but she'll be in for bridge."

"Did you get that baby sacque pat-
tern from Joan Bennett for me? You
promised !"

"You should have seen Chris Cor-
tez's face when she signed Leila
Hyams off with a No Trump and
Leila went on to bid three !"

"Sally Eilers and Arline Judge al-
most wore the same dress today ! I
tell you, you simply can't trust the
Style Shoppe. Imagine selling the
same dress to friends !"

No, friends and subscribers, this is
not an intimate peek-in on the Ladies
Sewing Circle in Walla Walla, Wash-
ington ; or even on the Merry
Monday Meeting of the girls
at the Pink Parrot Tea Room
in Peoria. The scene is hotcha
Hollywood — -the hour, Noon;
the day, Tuesday ; and whether
you or Mr. Ripley believe it or
not, the meeting of the Holly-
wood Sewing Club is in full
pre-lunch force !

Hollywood has always been
more or less of a clubby little
town. There's the Clover Club
for cocktails and the King's
Club for more of the same ;
there's the Actor's Guild for

Sewing Circle for

starting arguments and the Academy of Motion Picture
Arts and Science for deciding them ; there's the Polo
Club for Spencer Tracy and Big Boy Williams and the
Racquet Club for Bob Montgomery and Ralph Bellamy ;
and last but not least, there's the Mayfair for exclusive-
ness and your newest rags. Clubs This and Clubs That
are nothing new in Hollywood. But I never thought I'd
live to see the day when Hollywood sported an-honest-
to-Hays Sewing Club where the girls get together every
Tuesday and whip up hook-rugs or baby sacques be-
tween bridge hands. It's doubtful if I'd ever heard of
it if Sally Eilers hadn't called me last Saturday and in-
vited me to her apartment for luncheon the following
Tuesday.

"Bridge?" I asked.

"Well, it's our Club meeting," said Sally. "You can
play bridge if you like. Most of the girls sew."

"What girls?" I inquired — maybe not too gram-

matically, expressing a curiosity I hope was pardonable.

"Why, the girls of the Sewing Circle, of course !"

Here, indeed, was something new under the Holly-
wood sun, and it was the best of all reasons why I was
so promptly on hand at Sally's smart apartment at the
Colonial House to note the arrival of the various mem-
bers. With the exception of Bebe Daniels and Mrs.
Skeets Gallagher, who are on tour with Bebe's and Ben
Lyon's and Skeets' successful stage show, and one or
two other unavoidably kept away, the following Needle
Artists turned out full force:

The popular Mrs. Clark Gable looking stunning in a
maroon suit trimmed in white; Mrs. Ricardo, (Chris-
tine), Cortez; pretty Leila Hyams, (Mrs. Phil Berg),
in tennis slacks for the purpose of keeping an after-
luncheon tennis date with the beautiful, dusky Carmen
Pantages Considine, also arrayed in tennis shorts;
Charlie Butterworth's peppy little wiie, (Ethel), with a

for August 1935

Dorothy Manners

out why there are so few "regrets'*
from active club members.

First, there are the highly competi-
tive luncheons which would fill any
new cook book with delightful dishes
of tempting but non-fattening food.
Dieting in one form or another is the
general practice among the gals and
woe to the hostess who would dare to
break out with that old Sewing Club
standby, chicken a la king. Sally served
crown of lamb with shoe-string pota-
toes and a carrot ring preceded by
tomato-and-clam juice cocktails and
followed by a chilled fruit bowl of
fresh pineapple, strawberries, fresh
figs, diced oranges and cherries in their
natural juices.

But the delightful menus, the gay
Hollywood shop talk, the fun of see-
ing all your closest friends at one sit-
ting and swapping bridge rules and
baby patterns, is not the entire reason
for such perfect attendance. Members
who are absent without any
good cause, or who fail to notify
the hostess that she will not be
able to attend, contribute a five
dollar bill or check to the "Char-
ity Kitty" in charge of the ener-
getic Ann Lehr, who contributes
cash where it will do the most
good : baskets at Thanksgiving
and Christmas, rents paid,
movie-struck girls staked to re-
turn tickets home, some other
girl with a chance staked to cash
and clothes contributed from
the personal wardrobe of the
club members. There is noth-

Hollywood Wives

book of the newest bridge rules in her hand ; the wives
of three prominent directors arriving at once : Mrs. Wil-
liam K. Howard, whose husband directed such films as
"Evelyn Prentice" and "Vanessa — Her Love Story;"
Mrs. Frank Caj ra, wife of the Academy Award winner
for [f ippened One Night;" Mrs. Raoul Walsh;
Mrs. :hainbaud. Little Arline Judge, (Mrs.

Wes ■ ) , arrived with her popular mother,

Mar • rie, ; e latest snapshots of the Ruggles pride
and joy large white bag. Later, such popular

ladie as Pandro Berman, Mrs. Beth Newman,

Mrs. dorris, Mrs. Bert Kalmar, Mrs. Betty

Will n Milton Bren, Mrs. Alexander Pantages,

Mrs. }hen and her lovely daughter-in-law,

Betty lham Lehr and the lovely Mrs. George,

(Lorna), Hears!.

T\ in all, counting Sally who looked charm-

ing i 1-and-white sports dress. I later found

ing organized about the club charities. They merely
find out a worthy cause, or several of them — and then
proceed to do something about it without interference.

After a grand afternoon of clicking crochet needles,
bridge, shop-talk of what's new in Hollywood pictures,
divorces and romances delved in with the same fervor
similar subjects are taken up in Cedar Center, the session
began to break up with hilarious promises of "see you
next week at Arline's" — and Sally and I sat down to a
resume of how it had all started in the first place.

"Though we've gone into the charitable angle pretty
heavily since our membership went over twenty Holly-
wood wives, it wasn't the real reason back of the Sewing
Circle," Sally explained as her needles continued to
click away on a new sweater for Llarry Joe Brown, Jr.
"S'matter of fact," she continued, "we didn't have any
reason for starting the club except for the purpose of
getting together with close {Continued on page 83)

Stella was anointed and in readiness for the
great hour. "Not bad," said Betty, who was
kneeling at Stella's feet, adjusting her wrap.

amor

Gir

By Vicki Baum

Author of "Grand Hotel"

Illustrated by Addison Burbank

VICKI BAUM has dared to be frank
and courageous in this realistic story
of Hollywood, which refuses to
sacrifice truth to sentimentality

The Story So Far:
Stella Harrison was just the kid sister of Betty, an experienced
Hollywood extra, until a hurry call came from the studio for a
very young, fresh, and innocent new girl to play the lead in a big
picture. The casting director believes Stella was "made to order"
for the part. But she must run the gauntlet of the ace director
of the studio, and the scenario writer. Before they have made
their verdict Stella's great moment comes when she meets, in the
flesh, the famous actor of whom she has dreamed. Finally, Stella
learns that she is to have a screen test, the opportunity for which
thousands of movie aspirants have longed. But first she must
face the problem confronting every girl in similar circumstances :
how to look, what to wear? She and sister Betty must make
every moment count, to acquire a wardrobe so that Stella may
face the camera with assurance. Now go on with the story:

PART III

IT was a little past eleven when the two
girls dragged themselves to their weary
feet. It was ten minutes of twelve when
they reached the Biltmore Bowl. For
five minutes they stood outside the brilliantly
lighted entrance, trying to muster enough
courage to go in. Betty regarded her sister
somberly. She seemed to be growing skinnier
and more insignificant-looking under her very
eyes. Finally she drew a longth breath.

"They can't do more than throw us out,''
she murmured grimly, and her freshly painted
lips came together in a hard line. Thrusting
her arm through Stella's, she steered her to
the door.

Stella's eyes wandered in
a daze from the thick rugs
under her feet to the soft
brilliance of the shaded lights
^*#> overhead. She felt as though
she were moving in a kind of
dream. She'd felt that wav
ever since they'd walked out
of the notion shop together
into the strange stillness of the night. The sound of a
saxophone, playing tricks with a popular air, blared out
into the lobby. A young man in a dinner coat, his fore-
head beaded with perspiration, leaned against the door,
smoking a cigarette. He cast one appraising glance over
the girls, and looked away.

Betty forced her feet in the direction of the hat-check
girl. "I'd like to see Miss Irene Gillespie," she said,
trying to sound worldy. "She's a friend of mine." The
girl's face danced in front of her, and she felt as though
she were clambering up the steepest stretch of a very
steep mountain. A waiter strode past, bending an
inquisitorial glance on Betty's imitation-fox collar.

The hat-check girl murmured a few suspicious ques-
tions but finally dispatched a boy, who'd been lounging
nearby, through the glass door, behind which beauti-
fully gowned women and men in faultless evening
clothes were dancing and drinking and doing all the
things people did in the films.

Stella stared wonderingly through the door. In the
wild chase of the last few hours she'd completely lost
sight of the ultimate purpose of that chase. Suddenly
it surged back on a wave of (Continued 01. page 59)

ummers

Without
Masks

The "Boy David" becomes the boy Freddie,
when Master Bartholomew is just himself,
and he likes to strip for action as you see
him there at the left.

Craving even more action than he
gets in dramatic assignments in
pictures, Spencer Tracy is a polo en-
thusiast. Here is Spencer with his
favorite mount, Slip-Along.

And Spencer Tracy the family man
is a part this fine actor likes to play
when not working in films. Above,
with his daughter, Pat, and Susie, the
Tracys' pet Irish setter.

Air-minded Wallie Beery just can't
keep away from his plane when he's
not wearing the mask of a screen
part, so you usually find him at the
airport on days off.

Men audi boys* actors
are people and take up
their own life when
they drop the make-up

Nelson Eddy is just naturally an
outdoor chap who likes to rough it
for a change from music studies,
concert singing, and acting the hero
in the tuneful pictures.

Ooop! Caught you, Gary. And we always
thought handsome actors liked to get all
dressed up and go to parties! But Mr.
Cooper always was different, anyway.

Frank Shields, tennis star,
turns actor and likes it! See
him, left, with Jean Parker.

It's hosses, hosses, hosses, for
Kent Taylor when he gets a day
off from studio activities.

GIRLS II

Most Likely to Succeed!

The latest beauty from Britain, above:
Margot Grahame, slated for sensa-
tional things since she scored in "The
Informer." She'll play Milady in "The
Three Musketeers."

Valerie Hobson, another English im-
portation to be given a big chance in
Hollywood. Her pictures include
"Werewolf of London" and "The
Bride of Frankenstein."

Maurice Chevalier discov-
ered Countess de Maigret,
left. Does she remind you of
Garbo? M-G-M thinks so.

Luise Rainer is the European actress for whom a
great future is predicted. She is shown at left,
above, with Virginia Bruce in a scene from her
first American picture, "Masquerade," for Metro.

One year from to=
day, tney may t>e
stars* TTicn you 11 rc«
memker ScREENLAND
:Iced tnem!

Grace Ford, right, has an interesting story.
She's a dancing teacher who came to Holly-
wood seeking jobs for four of her pupils. P. S.
She got the job and her pupils didn't!

Frances Grant, right, made
her debut with Will Rogers in
"Doubting Thomas."

Is it Art, or is it
Dixie Lee's inspir-
ation that makes
John Boles so un-
usually romantic in
his new picture?

RIVALS!

Bing Croshy croons alone while
Joint Boles makes movie love to
Dixie Lee. That's Hollywood.

Bing, above, is prouder than he
looks of Uncle Gus, one of
his promising two-year-old racers.

The Crosby who's the crooning hero
of "Big Broadcast of 1935," right,
earns the money for the Bing, below,
who's a big race-horse owner! The
other man is Albert Johnson, former
jockey who is now trainer of Bing's
thoroughbreds. Johnson came from
Bing's home-town, and a Crosby
never forgets.

NATURE provides a brilliant background
for attractive Gertrude Michael when
she goes adventuring in the great outdoors.

amor

Out of D

oors

SOMETHING OLD!

Greet these good old
friends, whose hearts are
as young as their art is
mellow

Sixty and proud of it! Sir Guy
Standing, that magnificent actor,
can look back on a life rich with
achievement; but he prefers to look
forward to his next role.

O. P. Heggie, extreme left, is busier
than any juvenile, rushing from
one fat role to another. Now he is
appearing in "Ginger," with the
child star, Jane Withers.

Hobart Bosworth, one of the
screen's pioneers, shown
above in "The Crusades."

George Barbier, the theatre's original
"Hunchback of Notre Dame," has given us
many fine film performances. Above, Mr.
and Mrs. Barbier, probably the longest-wed
couple in Hollywood.

"Something old" is re-
created on the screen in
"Diamond Jim Brady,"
bringing back the fabu-
lous days of Diamond
Jim and Lillian Russell.
(Played by Edward Arn-
old and Binnie Barnes).

SOMETHING NEW!

The newest, and the freshest, and
the most amusing thing in all
Hollywood is Jane Withers. You
saw her first as the bad little girl
in "Bright Eyes" with good little
Shirley Temple. Now Jane is a
star in her own right, in "Gin-
ger." She's up to her young
tricks, as shown at the right.

Something new in singing
sirens: Marta Eggerth from
Europe, left, will now war-
ble for Universal. She
starred with Jan Kiepura
"My Heart is Calling."

Screen juvenile, new
style: Ross Alexander,
who scored in "Flirta-
tion Walk," will have
an equally breezy role
in the Annapolis pic-
ture, ''Anchors
Aweigh," with Ruby
Keeler and Dick Powell.

Decidedly different:
Rosalind Russell, right,
brings a novel sort of
patrician charm to the
screen. She will
be in "China Seas."

SOMETHING BORROWED!

Loretta Young is Twentieth Cen-
tury's pet girl star; nevertheless,
when Cecil B. DeMille wanted her
for "The Crusades," she left the
home lot for the Paramount Studio.

Merle Oberon, below, is an Alex-
ander Korda discovery; but Holly-
wood has borrowed her indefinite-
ly; and Merle will emote for Samuel
Goldwyn in "The Dark Angel"
before England sees her again.

r-.

Confusing, the way your
stars skip from lot to lot—
for a consideration? Well,
we'll try to straighten it
out for you here

In demand: Madge Evans.
Latest company to borrow her
from Metro is Paramount, for
whom she appears with Fred
MacMurray, below, in "Men
Without Names."

Richard Dix has that "borrowed"
look, but he'll do a good job for
Gaumont-British just the same.
RKO-Radio is lending his talents.

Mix-up in movie teams is a good idea. It
makes for freshness in our films. Fox
borrowed Jean Muir from Warners to play
opposite John Boles in "Orchids to You."
Below, a scene showing the new team.

Come on, Color! We've
jot those Hollywood Blues !

SOMETHING Bl

Baby blue for a blonde baby! Joan
Blondell, left, as she looks in "Broad-
way Gondolier," her new picture
with Dick Powell. Pity the color
won't show — but wait!

Frances Drake, right, wears a hat
of blue spun-glass, but seriously!
Navy ribbon and glycerined navy
veil make it saucier.

Rhapsody in blue and silver at the bar! Ida
Lupino looks like this in "Paris in Spring,"
making it practically a "Must see" picture.

Irene Dunne wears this'
charming blue taffeta cos-
tume in the big new screen
version of, "Show Boat."
Get busy, Robert Edmond
Jones. We want Color!

Remember what fun it was ro
hear the actors talk? Now the
new treat will be to see their real
coloring. What a picture Jean
Parker would make in her blue
and white outfit at the right.

"The Aristo-
crat" is the
name of Dor-
othy Dare's
suit, above;
and we think
that describes
her pretty ex-
actly— an or-
nament to
Malibu or any
other beach-
playground of
the movie
glamorous.

Here's Doro-
thy again, this
time in a very
new, very mod-
ern version of
what the well-
dressed mer-
maid is wear-
ing, whether
she's a real wa-
ter baby or a
decoration .
Just think —
Dorothy can
sing, too!

The scene above gives you an idea of what lucky
native sons and fortunate visitors find to admire
in sunny California! Dorothy Dare and Maxine
Doyle supply the silhouettes, aided by old Sol.

Patricia Ellis, at left and at right, shows you one of
the smartest swimming suits of this or any other sea-
son. It's called "El Serape," but with any other
name would look as sweet — on Patricia. Note the
conveniently convertible scarf.

The swim suits worn by the stars
on this pngc are all 61/ Catalina.

Great
Scott !

Randy, your old pal
of the horse operas,
is now the eminent
dramatic actor. But
that smile stays just
the same

Well, if he hasn't traded his hoss
for a husky! Randy — excuse us,
Randolph Scott has a big role in
"She" but manages to retain the
engaging human qualities that
made him a hit in "Roberta."

Threesome from the film based
on Rider Haggard's famous nov-
el: below, Randolph Scott, Helen
Mack, and Nigel Bruce, in Mer-
ian C. Cooper's RKO picture.

The title role of
"She" is played by
Helen Gahagan
from the stage,
shown at right in a
sc«ne with Scott.

Ernest A. Bachrach

Tlte Most Beautiful Still of the Month

Joe Ef. Brown and Olivia de Haviland in "Alibi Ike"

PRIZES

FIRST PRIZE: Auburn New 1935 Convertible
Salon Phaeton Sedan. Pictured below. Ap-
proximate Retail Value $1800.00. Includes
Extra Wheels and DeLuxe Equipment.

SECOND PRIZE: Atwater-Kent 8-Tube A-C.
World-Wave Console Radio.

3 THIRD PRIZES: (small) Atwater-Kent Radios.

15 FOURTH PRIZES: Electric Toasters.

50 FIFTH PRIZES: Helena Rubinstein Compacts.

100 SIXTH PRIZES: Hostess Sets.

100 SEVENTH PRIZES: One-year Subscriptions
to Screenland Magazine.

Find Miss Glory!
Win a Prize

Get Busy! Send In Your Entry!
Read Rules on Page 75

GET busy, all you screen-goers ! Here is the final
step in a contest that will not only make you
famous as the discoverer of the screen's super
charmer, but offers grand, big prizes as the re-
ward. The opportunity to become the owner of a brand
new 1935 deluxe Auburn automobile, is yours, right now !

All you have to do is to select, from all the screen stars
in Hollywood, the physical features which will combine to
make the most beautiful Composite Girl.

As detailed in its two previous issues, June and July
1935, Screenland told you how you must, as the first
step, fill out the coupon printed below (or one of the two
coupons printed in the two previous issues) indicating the
names of the stars you nominate to supply the features
making up the Composite Girl, who is to be known as
Dawn Glory, heroine of "Page Miss Glory," Marion
Davies' new starring feature picture produced at Warner
Bros, studio. The second step is to write not more than
200 words, telling why you think the stars you select have
the most beautiful features and should be represented in
the Composite Girl.

If you missed the June and July issues and wish copies
containing the first two steps of the contest, write to
Screenland, 45 W. 45th Street, New York, enclosing
fifteen cents (15^) in stamps or coin for each issue, and
they will be mailed to you.

The final step is to write a descriptive title for Dawn
Glory. Just think up a title which you think describes the
Composite Girl. You know of course that Mary Pickford
is called "America's Sweetheart ;" Will Rogers, "The
Cowboy Philosopher ;" Shirley Temple has been called
"The Baby Duse ;" Greta Garbo, "The Swedish Sphinx,"
etc. Well, how would you describe Dawn Glory?

As an aid to your creative efforts, study the photographic
reproduction, upper left on this page. Also read the fictioni-
zation of "Page Miss Glory" currently appearing in
Screenland, as the story revolves around a composite girl.

A Coupon Must Accompany All Entries

The award awaiting 'ne winner of the contest. This sporty,
speedy, powerful Auburn car is yours if you win first prize!

My selections to make up Hollywood s Composite
Girl are as follows:

HAIR

EYES

MOUTH
NOSE

ARMS

HANDS

HIPS

LEGS

FEET

Name

Street Address
City

State

SCREENLAND

Page
Miss
Gl

ory!

Loretta, (Marion D
vies), timidly adjusted
the finery that was
transform a plain cha
bermaid into a lady
glamor.

Resume of Preceding Chapters
Loretta, (Marion Davies),
chambermaid who cares for the
hotel suite occupied by promoter
Click Wiley, (Pat O'Brien), and
his partner, (Frank McHugh),
is induced to don finery and pose
as Dawn Glory, who doesn't
exist, but who has become fa-
mous as the alleged original of
a composite photograph of nine
Hollywood stars that Click has
entered in a radio contest. Even
Bingo Nelson, (Dick Powell),
famous aviator, believes there
is a Dawn Glory, has fallen in
love with her from the picture
he has seen. To appease re-
porters, who threaten Click un-
less he lets them interview
Dawn Glory, Loretta is brought
before the news men. Read on :

FOR an enchanted
moment Dawn Glory
came to life. Lovelier
even than the photo-
graph, with her hair shim-
mering like a halo in the late
afternoon sunshine and the
blue of her eyes and the red
of her mouth reflected in
the bright flowers knotted
at her throat.

Click stared at her in
amazement. She couldn't be
real, this girl, for hadn't he
seen Ed manufacture her,
borrowing the eyes and
mouth and hair and chin of
as many different girls to
create one lovelier than all
of them? Yet there she
stood, this girl born of his
imagination and Ed's crafts-
manship, calmly smiling and radiantly eager and alive.

There had been that breathless silence when she came
into the room, but now there was a sudden rush toward
her as the newspaper men sought to interview her. For
a moment she held her poise and then, bewildered, she
turned from them and ran.

Somehow Ed managed to clear the room of the re-
porters and then Click, shaken out of his composure, de-
manded : "Who is she?"

"From now on you're Dawn Glory," Click, (Pat
O'Brien), ordered, and suddenly Loretta realized
the import of his words.

doesn't know what it's all about."

"The chambermaid \" Click ex-
ploded, as he took a decisive step
and opened the bedroom door with
a flourish. Even knowing who she
was it seemed impossible to find
any trace of drab little Loretta in
the tremulous, wide-eyed girl fac-
ing him.

"C-can I go now?" she stam-
mered. "I'll get fired if anybody
tells Mr. Yates about anything."

"How would you like to be Dawn
Glory?" Click demanded in sud-
den inspiration. And then as the
girl stared uncertainly at him he
went on : "Dawn Glory has dis-
appeared, see ? I need someone to
take her place. I'm giving you
the job."

There was only one thought in
Loretta 's mind, the thought that
had been there when she had first
seen Bingo's picture smiling at her from a newspaper;
the thought that someday, somehow, she could be near "
him. For a moment the thought of taking the place of
the girl he loved overwhelmed her. To see him again,
to hear him speak, not casuahV'as he had that day in the
corridor, but intimately, thrillingly, the way a man
talks to the woman he loves, seemed as much nf heaven
as could be crowde<
insr echo of that firsl I

Then came the frighten-
: suppose he knew she

for August 1935

AFTER!

wasn't really Dawn Glory? Surely
the eyes of a man in love could pene-
trate the glamor she had taken on
with the adored one's dress.

"B-but what w-will Mr. Nelson
think?" she asked fearfully.

"Don't worry about Mr. Nelson,'"
Click answered impatiently. "You'll
have everything your little heart de-
sires."

"B-but what will Miss Glory say ?"
Loretta persisted. "She might not
like Mr. Nelson and me — "

"Will you stop this debate?" Click
wheeled on her. "From now on, you
are Miss Glory!"

The cornflower eyes misted with an in-
credible happiness and there was a fluttering
like caged wings in her heart.

"From now on I am Dawn Glory," she re-
peated rapturously. And then the threaten-
ing cloud again. "But Mr. Nelson won't — ■"

"You are Dawn Glory, understand?"

There was no mistaking Click's firmness,
and Loretta with a last despairing gulp
capitulated.

"Yeah," she nodded in agreement. "But
I gotta clean the other rooms on the floor
first or I'll get fired."

- vas no fierceness left in Click,
i >• ord give me strength," he mut-

Romance and fame blaze a path of
glamor for the girl Fate has elected
to bring from obscurity fo fame

Fictionized by

Elizabeth Benneche Petersen

From the Warner Brothers picture starring Marion
Davies, with a cast including Dick Powell, Pat
O'Brien, Frank McHugh, and other players.
Directed by Mervyn LeRoy. From the stage play
by Philip Dunning and Joseph Shrank. Screen-
play by Robert Lord and Delmar Daves.

Bingo, (Dick Powell), tells Loretta
she was his inspiration on his latest
record-breaking flight.

sign of recognition coining from
his formidable eyes and carried
off the newspaper interviews with
flying colors Click breathed easily
again. It was so easy, almost too
easy to fool them all. This auspi-
cious beginning was as good as hav-
ing a million dollars in a solvent
bank.

The excitement meant nothing to
Loretta. In spite of the adulation,
the daily thrill of seeing her name
on syndicated newspaper features,
the glamorous clothes flooding her
luxurious new bedroom, she was
restless and discontented. In the be-
ginning it had been fun to try on
all the different dresses, to tilt one
saucy hat after another on her
blonde head and admire herself in
the mirror. But even the smartest
clothes pall when there is no one to
show them (Continued on page 87)

Bingo's answer when Loretta confessed she
was not really Dawn Glory was to offer her
the engagement ring.

tta passed the iron test of
">tel manager without any

SCREENLAND

The Informer — RKO-Radio

PLEASE see this picture ! It is not only the most im-
portant of the month, but one of the most courageous
and uncompromising of all time. And don't get the idea
that because it's so worthy it is also dull. You'll be held
fascinated from first to last, or you're not the highly intelligent,
discriminating, and appreciative motion picture-goer I think you
are. {Now will you hurry right out and see it?) Here is one
painstaking picturization of a notable novel that manages at the
same time to be rich, robust, racy screen entertainment. It has
terrific drive and realism. Liam O'Flaherty's magnificent char-
acter study of a traitor in the Irish rebellion has been adapted,
directed, photographed and acted in masterly fashion. Victor Mc-
Laglen gives the performance of his life as Gyppo, who "didn't
mean to do it" but nevertheless turned informer on his best friend
and following this weaves an incredible and fantastic pattern of
drama and deception, climaxed in high tragedy. John Ford's fine
direction, the photography, and the supporting cast, including Mar-
got Grahame, Una O'Connor, J. M. Kerrigan, deserve high praise.

< £o SEAL OFi -

Reviews

of the best

Pictures

Break of Hearts— RKO-Radio

HEPBURN in striking modern dress and Boyer at his
romantic best are the good reasons for seeing this cinema
exhibit. The spirited star and her impressive new screen
lover will hold your interest even when the story fails —
which is practically from first to last, unfortunately. Together
these two vibrant personalities have a fire and force missing from
the manufactured Hollywood "teams." Hepburn plays a "Morning
Glory" sort of role, this time appearing as a struggling young
composer who has worshipped from afar the brilliant, sought-
after symphony conductor. In a whirlwind romance she becomes
his wife. The "break of hearts" occurs when she learns he is
turning to other women for inspiration as once he turned to her.
Disillusionment for her, disaster for him — and a convenient ending
in which broken hearts are mended — the Hollywood way. This
might have been a "big" picture to start an important new cycle
of screenplays with symphonic backgrounds — just as "One Night
of Love" pioneered for screen opera. But the music is merely
casual and incidental to the plot instead of the very life of it.

Escape Me Never—United Artists

SEE this for the greatest single performance of this screen
month or of many months. Elisabeth Bergner has been
acclaimed in London and in New York as the star of the
stage play of the same name. I saw the New York pro-
duction ; and I am here to tell you screen-goers that you are seeing
the best Bergner, but the very best, in this British-made motion
picture translation. Having gone completely Bergner myself after
seeing her on the screen in "Catherine the Great" and "Ariane"
I was among the eager ones who rushed to see her in person on
the stage. Well, I still think Bergner is one of the greatest of
screen actresses, but something less than the greatest actress on
the stage. So — to my mind anyway, you get the essence of Elisa-
beth when you see this very human, very moving, and mostly
amusing picture : the Margaret Kennedy story of another Utile
"Constant Nymph" named Gemma Jones, and her love for the
temperamental composer, Sebastian. The death of the baby is the
dramatic high-spot ; the lighter scenes ar Miciously gay and
typically Bergner. Hugh Sinclair is ad as Sebastian.

for August 1935

DON'T MISS

"The Informer"

For Drama

"Escape Me Never"
For Human Appeal

"Break of Hearts"
For Boyer and Hepburn

"In Caliente"

For Musical Romance
and Del Rio

And-BY HlMSELF-BUCK,

Dog Star of "Call of the Wild

/ft

Oil For the Lamps of China — Warners

HERE is an impressive picture. It is the rare sort of
cinema that you and your family and friends will find
yourself discussing in detail after you've seen it. Perhaps
it's what they call a "woman's picture." Certainly, every
wife will appreciate its significance, for it is the story of a
woman's faith in her husband and her fight to help him keep his
integrity and ideals, based on Alice Tisdale Hobart's thoughtful
novel. Pretty heavy going in its first reels, the picture gradually
gains and holds your serious attention, thanks chiefly to Josephine
Hutchinson's exquisitely sensitive portrayal of the self-sacrificing
wife. Pat O'Brien, much as I like him, seems utterly miscast as
an idealistic oil man who puts his loyalty to a soulless corporation
before every personal interest. It is Miss Hutchinson who keeps
the picture on a high plane, and I predict she will win every
woman in her audience, as she depicts the devotion that triumphs
over hardships in tortured China, and that finally wins success
for her husband. Interesting if you like an intelligent screen
treatment of a provocative theme, directed and acted with sincerity.

In Caliente — Warners

THIS may be just the picture you're looking for to fill
one of these summer evenings. It's a lavish and gorgeous
screen show, never a strain on the mind, equally easy on
the eyes. Easy? Positively soothing, for there's Dolores
Del Rio, not only beautifully gowned, but bathing-suited ; and if
you thought Dolores lovely to look at before, you'll be searching
for new superlatives now. The screen's most decorative lady is in
her element in the atmosphere of a musical movie, as she was in
"Flying Down to Rio ;" and for once you'll agree that the star of
the show is prettier than the girls in the chorus. Yes, there are
some "big" production numbers ; there are the dancing De Mar-
cos ; there's Pat O'Brien to supply the romantic menace — incident-
ally, Pat is himself here, with no necessity to be noble as in "Oil
for the Lamps of China ;" and last but never least, there is the
inimitable Edward Everett Horton for comedy relief — and it is a
relief : *c-~"T' Caliei e reatens, like most musicals, to grow
■ : geousness, which gains its peak in a
s ■ a song called "The Woman in Red."

Call of the Wild— Twentieth Century

NEVER thought another actor could steal a picture
from Clark Gable and Jackie Oakie, did you? The im-
possible has just happened. The honors for trouping in
"Call of the Wild" go to a handsome furry four-footed
newcomer named Buck, who is just as ingratiating as Gable and
just as inveterate a scene-stealer as Oakie. Buck will get most of
the "Ohs" and "Ahs" formerly given to Gable; and the giggles
usually reserved for Oakie. What "Call of the Wild" would be
without Buck, in fact, I hate to contemplate. The Jack London
story dates dismally — why didn't they dare to make it a gorgeous
burlesque of all the old Yukon melodramas? As it is, Buck, the
doggy hero, provides the only real fun when he carries a thou-
sand-pound load one hundred yards and saves the day, for dear old
Massa Gable. The gold-dust boys, Clark and Jack, fall in with
the winsome Loretta Young, and together they thwart wolves and
wily rival prospectors; but somehow it is less than enthralling.
Loretta is lovely as always; Messrs. Gable and Oakie strive
valiantly ; but Buck is best, a proud distinction for any actor.

SCREENLAND

ffjiH/'f/iiiiiiilllii

'MHW!

wmm-

iii ill lw$miMr

iittVUNfr

fill liiipitw

iillfllr

ll^i.iwililill

"Sugar and spice and
everything nice" — and
checks and plaids and
prints and everything
gay— that's what 1935
Glamor Girls are made
of! Bette proves it
wearing her cinnamon
brown and white knitted
suit, left; and her sum-
mer evening gown,
right, boldly printed
with red, green, yellow,
blue and white flowers.

Just a touch of tender per-
fume on eyebrows — a gla-
morous grace note, above.

SCREENLAND

Glamor

Sch

Edited by

for August 1935

Bette shows off her new evening vanity
which has compartments for cigarettes,
powder, rouge, lipstick, and coin purse.
The enamel top of the metal case is set
with a jewelled ornament.

Clamor is frankly frivolous this season,
according to Bette. "Get gay along with
me!" says the Davis girl

Bell-shaped silhou-
ette, right, in navy
and white checked
taffeta, and a
great big bow at
the neck!

Pretty little peasant-sophisticate! Full gath-
ered skirt, blousy waist, puffed sleeves in rust-
ling black taffeta dotted with tiny flowers.

3CREENLAND

FIELDS

Fields today! The world looks good to him, and
he looks good to a world craving amusement.

THE first phase of Bill Fields' movie
career started with a loud and
cheerful bang. "Sally of the Saw-
dust" made almost a million and a
quarter — nice money back in the days of
the silents, and no chicken-feed in any
language.

But the opening gun was the loudest.
From that peak the line started moving —
slowly, jaggedly, but inexorably — down-
ward. What caused the decline is any- As a
body's guess. The comedian has theories
of his own, but he presents them only as
theories.

"Maybe it was the stories, maybe it was the promotion,
maybe it was me, maybe we were all rotten together,"
he offered impartially. "How do I know? Fd worked
hard all my life on the stage, and I expected to work just
as hard on the screen. Fd get in there at nine every

CLOVER

morning, whether I was called or not, figurin'
I ought to be doing something for the money
they paid me — roll the ash-cans around,
maybe, or stand on my head to keep the car-
penters happy. Finally the producer comes
over. 'Listen,' he says, 'will you do me a
favor? Get out of here and stay out. Go
play golf. Come in and get your check on
pay-day, and when we want you, we'll send
you a billydoo.' " Fields fixed me with a
plaintive eye. "That's what he said — hon-
est," he assured me, and the quaver in his
voice was almost more than I could bear.

"Well," he continued, having audibly swal-
lowed his emotion, "you'd think no human
being could ask fairer than that — workin'
fourteen weeks and gettin' paid for fifty-two.
Maybe it proves I'm not a human being.
Anyway, I definitely didn't like it. I smelled
a rat — I had a sinister feeling it wouldn't
last — sinister — s-i-n — say, do your own
work, will you? What happened? What do
you think happened? I got thrown out on
my ear, that's what.

"Oh, not all at once.
Just gradually. Did you
ever get thrown out grad-
ually on your ear? It's an
experience you shouldn't
miss. Like that fellow,
What's his-name, they
stuck in the mud and hung
a sizzlin' steak or some-
thing over his nose that he
just couldn't reach. You
keep hopin' against hope
they're goin' to renew
your contract or you'll get
an offer from someone
else. You go round
smilin' at people you hate
and lookin' for a word
like a hungry dog for a
bone. And finally you
slink off and go your way,
tryin' to save your feelin's
by cussin' out the whole
shebang, and you wouldn't
worl tc em i f they
brous ' a diamond

contract embroidered in pearls — u wouldn't."

We were interrupted at this timid knock.

A youth stood outside. ;L:

"Come on in," called Fields, ' v -rviewed."

"I — I'll come back later," the 1 red. "I'm —

vaudeville juggler.

the props as souvenirs.

Bill still keeps

for August 1935

And now "Bill" Fields strikes prosperity and
screen fame. Here's his life story up-to-date!

Ida Zeitlin

in a kind of a jam. I can come back and see you later."

"O.K. Half an hour." Obviously relieved, the visitor
vanished.

"Kind of a jam," growled Fields benevolently. "And
fifty bucks'll probably iron him out. Where were we?"
"Shattered," I reminded him.

"Yeah," he agreed, "shattered. But I picked up the
pieces and spent two years with Earl Carroll's 'Vanities/
then Arthur Hammerstein starred me in 'Ballyhoo.' "

That was the beginning of the great theatrical slump,
with shows folding up the night after they opened. By
the skin of its teeth, "Ballyhoo" managed to hang on for
ten weeks, and when Hammerstein dropped it, the star
took it over — working for nothing so that others could
eat, striving desperately to revive what was already dead.
At length even Fields was obliged to concede defeat, and
motored sadly down to Florida to think things over.

In New York the situation was going from bad to
worse. No sense in returning there, to watch the depress-
ing collapse of the world he loved, the individual trag-
edies and heartaches he could do nothing to help. It was
four years since the movies had bade him godspeed. He
yearned for the sunlight of California. If he had to be
"at liberty" — that polite professional term for joblessness
which deceives no one — he might as well be "at liberty"
there as elsewhere. Maybe, once on the spot, he could
turn something up.

He ordered his few belongings shipped to California
and preceded them by motor. He found a warm welcome
from the sun and the balmy air, from the hill-fringed
countryside with its tempting golf-courses, from his pals
of another day. He found a warm welcome from every-
thing but the movies.

"I picked up right where I'd t
left off," he said, "—like this—"
and cocking his head, turned on
one of those timid, propitiatory

Before the boy grew older — right, Claude
Dukenfield, W. C. Fields to you.

Master of the Manor! Fields enjoying
the home he built in San Fernando.

grimaces that only the shrewish wives he draws in the
movies can resist. "I did everything but hawk my wares
from door to door. I went to one studio and told 'em
I'd write, direct, and act in my own pictures for nothing
— for the chance to prove I could make people laugh.
'Go play pattycakes, mistef,' they told me in effect."

He finally persuaded a producing friend to let him try
a two-reeler. Bent on proving he "could make people
laugh," he hurled himself into the work with even more
than his customary zest. His friend, the producer, walked
in and watched the proceedings. "It's all wrong," he
snapped after five minutes or so. "You're doing it all
wrong. Take two days off to rehearse, then start your
picture."

Fields tried to argue. This might be all wrong by
normal standards, but his standards weren't normal. He
had a plan — cockeyed, maybe — but nevertheless a plan
he was sure would work. "Go play golf," he pleaded,
remembering the advice once meted out to him, "and let
me do this my own way." The producer was adamant.
Two days' rehearsal, or the bargain was off.

Bill yielded suddenly. "All right," he agreed, "you're
the boss. But do me one favor. Leave the cameras here
and the grips and everything. It'll give us tone," he ex-
plained, returning his friend's suspicious glance with
bland innocence, "you know— make us feel as though
we're really doin' something."

Reluctantly the friend agreed to this decidedly curious
arrangement. Fields worked like a fiend and finished his
picture in two days. "Come on over," he phoned the
boss, trying to keep the excitement out of his voice. "I've
got something to show you."

They sat side by side as the
two reels were run off. Fields,
palpitating, stole an occasional
glance at the other's poker face.
He couldn't (Coat, on page 74)

An important phase of Bill's life. Left,
when he was in the "Follies."

In the study of his home, where Fields
writes comedy for his films.

SCREENLAND

For Beauty's Sake

CAROLE LOMBARD'S favorite flower is the
lily, so it's said. I wonder if she knows, deep
down in her heart, that she makes people who
see her think of these cool white flowers on their
graceful stems? Haven't you noticed that a woman's
favorite flower, like her favorite perfume, is often some-
thing that is truly expressive of her?

It's not a bit easy for Carole to look as cool and fresh
as she does on the screen, what with the strenuous work
on the sets under lights that are more glaring than the
hottest midsummer sun. You can safely bet your bottom
dollar, Carole knows tricks of beauty care we could all
use to our advantage when the temperature is hovering
around 90 or above.

1 1 iij|§

Look cool! Hollywood has ways of
preserving crisp summer loveliness

By Elin Neil

The most important step toward looking cool
in hot weather is feeling cool, which most cer-
tainly calls for a word about baths. Maybe you
love the feel of a cold shower or plunge on a
sweltering day. But it's an actual fact that the
most cooling bath is a tepid one. Cold water is
too stimulating. It will cool you off while you're
in or under it, but it won't keep you cool.

Pat yourself dry instead of indulging in the
brisk rubbing that feels so good on cold days. If
you can possibly manage it, rest for a little while
after your Summer bath and take your time about
dressing. There is nothing to heat one up like
rushing !

You need more baths in Summer. If you lead
a pretty strenuous life, you probably like to add
to your morning ablutions by a bath before dinner
and even one around noon-time or before you go
to bed. Some of the loveliest screen stars, in-
cluding Joan Crawford, bathe as often as four
times a day in hot weather without the slightest
bit of harm to their skin because they use the
gentle creamy beauty soaps we are blessed with
these days.

If your skin shows signs of getting too dry from
frequent bathing, there are grand body rubs, sort
of creamy semi-liquids, that are absorbed right
into the skin so your stockings and girdle will go
on just as easily as if you had used nothing at all.
A body rub will keep your skin from getting sand-
papery from over-enthusiastic sun-bathing, too.

There's something so luxurious and soul-
satisfying about being properly perfumed right
after a bath ! Bath salts and essences add much

to one's charm and
feeling of well-being.
However, you devo-
tees to the shower
can get just as good
an effect of complete
body perfuming by
using one of the
delightful infusions.
Some tub bathers
prefer them, too, be-
cause they are so
lasting.

An infusion is a
(C ont. on page 68)

am a sylvan water-
more refreshing
' mpse of Carole
's cool beauty
ilistering day

August 1935

/
)

)
)

•7

j»r. i

It's fun to keep fit! Try the
Lumberjack Routine that James
Davies gives you here. You'll
get results in health and beauty

Ida Lupino prefers the "Lumberjack
Routine" to all other exercises, and in
these illustrations she shows you how.

erases because they are
afraid to lose weight will
please attend carefully to
this article.

Listen, please ! This
month I'm giving you an
all-round exercise called
the Lumberjack Routine,
designed to give you the
1935 Ideal Figure.

Have you ever seen a
lumberjack ? He has firm,
trim muscles, broad
shoulders, a very slim

DO YOU know that girls are grow-
ing huskier today than they were
ten years ago?

A late survey of student bodies
shows that girls attending colleges are at
least an inch taller and two pounds heavier
than they used to be. And, more surprising,
the Hollywood star of 1935 is seven pounds
heavier and more than an inch taller than
the star of Clara Bow's day.

The average co-ed now tips the scales at
119 pounds and stands five feet four inches
in height.

Hollywood stars, as I've repeated time
and again, must always be slimmer than
girls anywhere else, but even with them the
average weight for the 1935 brand of actress
is 113 pounds. Seven years ago the aver-
age weight of the successful star was 106
pounds. Five feet three inches is the aver-
age height of the star of today. She's grown
an inch since 1928.

The girl who most closely approximates
the ideal measurements of NOW is Carole
Lombard, who weighs just 112 pounds and
is five feet three and a half inches tall.

So pause before you go in for strenuous
reduction. But don't sit back and smile at
your curvaceous reflection and think that
you're all right because girls aren't so thin
any more. They are slim in the right places
and curved in the right places, remember.

Thin girls, too, who have given up ex-

waist and hips and practically no abdomen. There isn't
a spare pound of flesh on him, for it has all gone to beau-
tiful supple muscle. He is in the perfection of health
and could be used as a model for America's Ideal Youth.

This routine will help you to achieve a fine, firm chest,
good back muscles, the slimmest of waists and lovely
firm slender hips.

When I taught the routine to Ida Lupino, who poses
for the illustrations for Screenland this month, she was
so enthusiastic about the exercises that she demanded a
chart of them for herself so that she could substitute the
routine for the "lissome waist" exercise that she has
been using. Ida, you see, insists that unless she watches
her waistline and keeps it trim, unwanted pounds would
creep up on her.

Like all English girls, Ida walks a great deal and plays
more tennis than anyone else in the studio, but even so
she feels she can't afford to do without her morning
"daily dozen." From now on it will be:

The Lumberjack Routine

Exercise No. 1 :

Stand erect, feet well apart, hands at waist level out-
stretched before you. Clasp one thumb in the other fist
and pretend you hold a saw. Lean the body forward
and start the swing from left to right, hands locked to-
gether until you feel the pull of the muscles in the left
side. With each swing keep bending lower to the floor,
keeping knees stiff. Swing down at length until your
clasped hands strike the floor. Your abdomen muscles
will feel the pull. Repeat, (Continued on page 85)

James Davies' Answers to Questions
will be found on Page 86.

Screen Stars on Parade!
West— East— Every where !

Weston East

Always-on-the-go
Hepburn! Katharine
the Great traveler,
snapped on her way
from the airport.

MARY PICKFORD thinks that some-
where, there may be another Mary
Pickford. She is planning to find this
other girl. As yet, she's not sure whethe'r
she will have a contest, or what means she
may take. The object of her search will
be a girl who looks today as Mary her-
self looked a score of years ago.

Kay Francis loves ocean liners, and it's
always "ail-aboard" time for Kay.
Here she's at it again.

If Miss Pickford finds such a girl, she
will give her every opportunity to demon-
strate her ability as an actress. If Mary
finally concludes that the girl shows real
talent, it is very possible that she will give
this newcomer her own name of Mary
Pickford and sponsor her career as a mo-
tion-picture actress.

SCREENLAND

Here's

IT IS interesting to know that Greta
Garbo, Marlene Dietrich, and Katharine
Hepburn patronize the same dress-maker.
This woman's name is Billie Mallone,
which doesn't sound at all like the name
for a modiste. Miss Mallone is from
France. Her grand-aunt is one of the few
persons who ever broke the bank at Monte
Carlo. A few years ago, Miss Mallone
became famous as the girl who testified
against American style-design thieves who
were stealing gown ideas from the finer
shops of Paris and Vienna. She is now in
Hollywood, is very exclusive, and is per-
haps the only woman in the world to ma':e
gowns for three such famous personalities
as Garbo, Dietrich, and Hepburn.

WELL, shades of pink ele-
phants! Will you look at
Ruth Chatterton's bath robe!
Ermine, and pink! 'Sa fact, Miss
Chatterton owns the only pink
ermine bathrobe in existence, as
far as this department knows.

Comedy with an undertone of tension! Robert Montgomery, Joan Crawford, and
Franchot Tone, (there's casting for you), in a scene from "No More Ladies."

What with personal appearances and
vacations in New York, Gene Raymond
gets around these days.

for August 1933

Hollywood !

HERE'S a secret that will surprise Hol-
lywood. There is a beautiful young
lady who is breaking into the movies, and
who is succeeding because she has talent
and personality. So far as the studios have
known, she is just another girl trying to
make good.

Her screen name is Lois Loring. That
isn't her real name at all. Her real name
will give studio executives a real thrill, for
she is Mary Lou Fisher, and she is a mem-
ber of that wealthy family that manufac-
tures automobile bodies.

WELL, East and West have
met, despite Kipling. Mae
West and her sister, Beverly,
have opened a Chinese chow mein
factory in Los Angeles. Of
course, Beverly will actually op-
erate the factory, but Mae's
money is invested. Mae has pur-
chased ten pure white delivery
cars, and sends fine Chinese din-
ners on order to private homes.

Joe E. Brown goes wherever baseball
games promise action! Joe can hurl
some hot ones himself.

Tullio Carminati joins the parade of
travelers and goes- across the Big Pond
to do an English film.

THE tragic accident that claimed the
lives of Junior Durkin, Jack Coogan,
Sr., and others, brought out the fact that
the elder Coogan had a mental quirk that
some day something would happen to his
son in an automobile.

Mr. Coogan was always exactingly care-
ful about automobiles where Jackie was

concerned. In taxicabs, when father and
son were riding, Senior would caution the
drivers time and again to "be careful." He
did not permit Jackie to own his own car
until just a few months ago. All of which
makes it a queer twist of circumstances
that in the motor accident that cost Mr.
Coogan's life, Jackie escaped with painful
but not serious injuries.

AT LAST, the truth about fan mail, and
l\ revealed by no less an authority than
the head of the fan mail department of one
of the larger studios. This man says that
studio executives do not regard the volume
of fan mail as important, except in the
cases of romantic actors and actresses.

Paul Muni, one of the really great screen
actors, gets five or ten letters every day.
But Dick Powell, a matinee idol, receives
about three hundred. Helen Hayes, one of
the finest actresses of stage and screen, re-
ceives a smattering of fan mail. Ruby
Keeler received more than two thousand
letters the first two weeks of this month.

That is why studios take into considera-
tion the type of the star before they weigh
the quantity of his mail.

§ mm *

Here's another one of filmdorr.'s furi-
ous travelers! Fay Wray who has been
commuting to England.

A trio to challenge great acting Ihreesomes of all time: Garbo with Basil Rathbone
and Freddie Bartholomew in a scene for "Anna Karenina."

SCREENLAND

Charles (Buddy) Rogers returns to
the screen with a grand comeback
in "Old Man Rhythm."

HERE'S one for the black side of Katha-
rine Hepburn's ledger. During her
recent picture, the director and camera crew
were perched on a high scaffold. Suddenly
Miss Hepburn saw that the director's shoe-
string had come untied and was caught on
a nail in the scaffold. She realized that
if he should attempt to rise, he might be
thrown headlong to the stage floor, and per-
haps seriously injured. She also realized

that to interrupt the scene, (in which she
was not engaged at the moment), would
cost quite a few dollars.

So Kate climbed a ladder to the scaffold-
ing and crept along the narrow rampart
until she knelt at the director's feet. Then
she calmly and without a word tied the
shoestring. The director patted her
shoulder and smiled his thanks, and the
long scene kept right on to its conclusion,
as Miss Hepburn carefully crept backwards
on the rampart, and then down the ladder.

ADRIAN, perhaps the most famous of
l all gown designers, cried, "Am I
ashamed!" He was joking, of course, and
this is the reason: In "Broadway Melody,"
Sid Silvers, the comedian, does an imper-
sonation of Eleanor Powell. So Adrian
had to create a gown for Silvers! First
time on record that a famous designer has
been assigned to invent an evening gown
for a man.

IT LOOKS like curtains for the
team of Fred Astaire and
Ginger Rogers. Not only have
they not gotten along any too
well together, but Astaire now
wants to star alone.

It is believed that Douglas
Fairbanks, Jr., is responsible for
Astaire's wish to fly alone. Doug,
Jr., and Fred have been friends
for years, and in a letter to As-
taire, young Fairbanks told the
dancing star that he was too defi-
nite a personality to be co-
starred. Doug's advice was that
Fred should not allow any ac-
tress to share billing with him.

William Lynn, Broadway comedy hit
of "Three Men on a Horse," soon to
make his film debut.

HOLLYWOOD'S most confirmed bach-
elor, Edward Everett Horton, is so
rarely seen with a member of the other
sex that one of the occasions ranks as ban-
ner-line news. Such news happened not
long ago, when Horton "dined out" with
Helen Broderick, the actress.

Later, he approached a columnist and
asked, "Do you think people will talk?"
{Continued on page 84)

Shooting an action picture is done outdoors, but these most p:cK js a-o rnade in

studio sets. Here we have Buck Jones, astride his horse, matW ci?;3-up.

for August 19 35

Radio and Hollywood
engage in another
star-swapping fest

Dorothy Page, right,
signed for pictures.

Tom Kennedy

Benay Venuta, helped
to fame by Al Jolson.

COMES the dawn of the season signalizing what
has developed into an annual love-fest whereat
radio and the movies get together just to show
how much they admire each other.
By way of proving mutual devotion, the broadcasters
bid — but high — for the film stars to come on over to the
microphones, while the movie men toss coins in the gen-
eral direction of the air celebrities.

So far the broadcasters have had all the best of this
star-swapping business. But you never know when some
truant from the radio may crash through with a perform-
ance that will make a new screen star, with options
all ready for the film studio to mortgage the star's
future should the lightning strike. So Hollywood takes
its annual whirl — hoping for the bes ^nd knowing that
the worst is a good chance for . x-office trade

whipped up by the presence of "radio names" in their
pictures.

The current star-swapping season got under way with
a bang when agents of an oil company coaxed Al Jolson
back to radio as head man of one the most elaborate, and
thanks to Al, one of the sprightliest shows, presently
agitating the air waves.

The man who made Mammy's name ring around the
world is even now himself a little surprised that he was
wheedled into forgetting a former pledge to stay away
from the air. But it seems Al was feeling expansive—
his new picture "Go Into Your Dance" with his favorite
movie star sharing honors with him, had turned out better
than just good, and the bangtails at Santa Anita had been
behaving pretty well for Mr. Jolson, who likes to risk a
coin or two now and then at {Continued on page 73)

SCREENLAND

Paul Muni smiles in apprecia-
tion of your Salutes as the
Movie Man of the Moment.

Salutes and Snubs

Hollywood, stand by! Listen to these suggestions and criticisms
The first eight letters receive prizes of $5.00 each

HOW ABOUT IT, HOLLYWOOD?

Actors and actresses want to avoid being
typed. But would theatres be crowded if:
Janet Gaynor were a sizzling siren?
Clark Gable crooned to the ladies? Jean
Harlow became a sweet ingenue? Bing
Crosby played a suave sophisticate? ZaSu
Pitts changed to a vamp?

Eugene A. Karst,
547 So. Park Ave.,

Oshkosh, Wise.

RATHER SEE SHIRLEY THAN
EAT

I'd heard that folks preferred seeing
Shirley Temple to eating. Now I know
it ! We invited friends to dinner — a good
dinner, too. "Oh, so sorry, but this is the
only night we can see 'The Little Colonel,'
sorry !" And that was that.

Francais Harris,
2517 South 13th St.,

Lincoln, Nebr.

SAYS: DOWN WITH DOUBLE
FEATURES!

I do not like the double feature program

and wish it were abolished. Then, no
longer would people have to miss a good
picture so as to avoid seeing a boresome
one. What is really needed are more
single programs with selected short sub-
jects.

Alice Pell,
615 State St.,
Hudson, N. Y.

THE ANSWER IS YES!

It is often remarked that America's
school girls prefer the glamorous woman-
of-the-world type of actress. My high-
school friends and I heartily resent such
judgment. Our favorites are the wistful
younger stars, including Janet Gaynor,
Jean Parker, and Ann Shirley. Do our
opinions mean anything?

Grace Lyons,
4217 Dunkeld Place,

Pittsburgh, Pa.

RUN, DON'T WALK TO SEE
MUNI

My biggest salute, my deepest courtesy,
my broadest smile, and my most delicious
home-baked apple-pie to that grand actor-
Paul Muni. I've just seen "Black Fury '

and Muni's performance is up to the pre-
cedent he has set in previous great films.
I'd honestly and willingly run a mile to
see him act.

Enid W. Young,
47 Cherry St,
Holyoke, Mass.

YES — BUT WHAT ABOUT
MICKEY?

Everyone likes to relate his pet peeve
and I'm no exception ! Mine is the flood
of horrid cartoons that have lately swamped
the screen. Once in a while I see a good
one but that is far too rare. I prefer
quality to quantity.

Alice Dohi,
Glasgow, Mont.

THINKS ACTING COMES FIRST

Although we like to give new players
a chance, must we have a steady diet of
prize-fighters, crooners, and celebrities
from other fields who can't act? Once
in a while we like to see a name on a
theatre marquee and know that we'll see
some real acting if we go in there.

Edna Dixon,
206 Princess St,
Wilmington, N. C.

IDEA FOR "PICTURE STEALERS"

Were I a Hollywood "big shot" I'd
give out special Academy Awards to the
picture stealers ! Then I'd produce a pic-
ture composed entirely of these "stealers"
and star the biggest "thief" of all !

Ruth King,
2 Hamilton Ave,
Cranford, N. J.

MEMORY TEST

Why give "One Night of Love" all the
credit for bringing operatic arias to the
screen? Because "Stingaree" wasn't a hit
picture due to a weak story, has everyone
forgotten how beautifully Irene Dunne
sang "The Jewel Song" from "Faust' in
that film?

D. I. Dubois,
1222 W. 32nd St,
Cheyenne, Wyo.

TOPS IN VILLAINY

When the villain of a picture gives a
performance that jolts an audience, he's
a real actor. No other person I know of
so thoroughly qualifies — in acting sense —
for the sinister title of "Hollywood Public
Enemy No. 1" as Barton McLane, "hood-
lum" of the excellent and interesting "G-
Men."

Clarence M. Fink,
1890 Euclid Ave,
San Marino, Calif.

Have you a pet peeve? Or a pet rave, con-
cerning things you see on the screen? Well, here's
the* place to record your Salutes, or your Snubs
regarding all your thoughts and ideas about the
pictures and the stars. Read what your fellow
fans have to say here, and you'll realize there's
no use grousing to yourself, or gurgling words
of praise to limited audiences while such oppor-
tunity as Salutes and Snubs exists for you to put
your thoughts before the whole of screenland —
pict' iers, picture-makers, directors, authors
anr1 'II listen to you when you express

yo 'ree forum.

II read th«e letters with relish, and you'll
er satisfaction if you send in
/ this department. Just try and

see!

mind the fact that you can win a

prizj of $5.00 in cash if your letter is regarded
sight best of the month by the judges,
lease rirt Iptterc tn ^ m^vTmnm fifty

wofdi.' Address them to: SCREEN LAND, 45 Wesf
«3fh St., Maw York, N. Y.

for August 1933

Clamor Girl

hope and exaltation — her screen test, her
part, her career. She flung up her head.
"Just wait — " she thought, hurling the
thought like a bomb into the midst of that
laughing, indifferent company on the other
side of the door. It was a muffled thought
that found no expression beyond the two
words, "Just wait — ," but it stiffened her
spine and ran through her veins like fire
and encompassed all her future in its
golden promise.

Miss Irene Gillespie was a slender crea-
ture, with plucked eyebrows and henna-ed
hair. A seductive odor clung about her
clothes and her person. She greeted both
girls with casual friendliness, despite the
fact that she'd already climbed a few steps
of the ladder at which they were gazing
wistfully from below. She was wearing a
heavenly frock of poppy-red, embroidered
in silver flowers, and she was a little tight
— just tight enough to regard this affair
of Stella's, poured out by Betty in one
breathless torrent of words, as the world's
prize jest.

"Not this little shrimp," she kept crying,
her laughter pealing through the room.
"Not this funny little mouse in the movies?
Oh, I can't tear it !"

Apart from that, she was kindness it-
self, listening attentively as Betty's husky
voice supplied additional details. Stella
confined herself to an occasional nod, rather
abstracted than otherwise, for she was still
staring past Miss Gillespie's delicately
powdered shoulder into the room beyond,
her weariness slipping away and the lilt of
the jazz music creeping like wine through
her veins.

Irene Gillespie realized perfectly the ne-
cessity of clothing this "little shrimp,"
so as to mask her defects and enhance her
qualities. She also realized perfectly the
impossibility of appearing for a screen test
without an evening wrap. She owned such
an evening wrap. As for lending it — she
hesitated for the barest fraction of a mo-
ment, while Stella's heart skipped a beat
and a church clock outside boomed the
quarter hour into the midst of the jazz.
Then she stood up — yes, she'd lend them
the wrap until tomorrow afternoon. They'd
have to call for it — not before nine and
not after ten thirty— at 1457 Wilton Place,
Apartment 3-C. They stammered their
thanks as she dismissed them.

With a grand air, Betty handed the hat-
check girl a dime, and the boy who had
gone in quest of Miss Gillespie, another.

"Good luck," called their benefactress,
as they stepped through the revolving door
into the night. And pale as a little ghost
though she was, Stella never doubted her
luck in that moment of elation. For she
was still back there amid the lights and
the music and the perfume, amid the sleek
heads bent over smiling faces, the arms
gleaming white against black dinner jack-
ets. She was still throbbing with the
thought: "Just wait — just wait — " the
thought that held everything — gold slippers
and poppy-red dresses, silver-embroidered,
earrings and a car and Robin's misty face,
transfigured by love. . . .

It was one-thirty when they went to bed,
and four-thirty when they awoke, startled
out of sleep by the clatter of a passing-
truck and a restlessness that kept them
from falling asleep again. Betty, who was
due at the studio at eight, whispered her
final orders and instructions, while Stella
listened, her thin arms crossed behind her
head, her face touched by the first faint
light of dawn chat began filtering through
a rent in the shade a little after five.

They had four dollars left — the rest had

Continued from page 26

dribbled away in carfares, phone calls, and
tips. That meant they were a dollar short
for the lingerie. Stella would have to get
what she could for four. There was no
time to look up Juanita's wholesale man.
But what about carfares? What about a
manicure? That Stella should appear for
her test with unlacquered nails was as
unthinkable as that she should appear
minus an evening wrap.

Betty had filled all her mother's cooking
vessels with water which she'd heated on
the stove and was now pouring into the
little zinc-lined tub. With the critical
pessimism induced by lack of sleep, she
watched, Stella bathe. The Harrison tub
partook of the same quality as the Harri-
son mirror — you couldn't get everything
into it at once — you had to wash yourself
piece-meal, a section at a time. First, the
neck with its protruding collar bones —
then the thin arms and shoulders — then
the legs — "how can anybody have such
spindly legs?" thought Betty despairingly
— and finally the feet with their white,
very long toes, which were Stella's secret
sorrow.

At six they heard their mother moving
about. The sound of her low grumbling
penetrated the thin walls.

"There'll be another row with her to-
day," Stella murmured.

"If only she had a little vision," sighed
Betty. "You could pay her back later.
Be nice to her. Maybe she'll give you the
dough — " But she knew it was hopeless,
and sighed again, dawdling about the room
till there was barely time to make her
car. She was sick with worry. She
hated to leave this helpless young sister
of hers — now, when her whole future was
at stake.

"Well," she said, her voice growing
husky again, "don't forget anything. Get
into your clothes and look for Muhlmann
in the wardrobe room. I'll meet you there
and give you the once-over. And about
the money — "

"Don't worry about the money," came
Stella's unexpected reply. "If worse comes
to the worst, I know who'll lend it to me."

Betty's heart smote her. "Lend it to

Jane Withers tries her winning
ways on Jackie Searle and — wins,
of course. A scene from "Ginger."

you!" she cried, forgetting the need for
caution and her mother in the next room.
"Lend it! — who, may I ask?"

Stella pointed her soft little chin in the
direction of the butcher shop.

"That boob over there," she replied
scornfully, with an air of being surpris-
ingly wide-awake.

"Don't you dare!" whispered Betty.

"Beat it !" rejoined Stella calmly. "You'll
be late."

With an agonized glance at the clock,
Betty took to her heels. An hour later
Stella set forth on her quest for lingerie.

She returned triumphant, with a truly
exquisite lace bandeau and lace-trimmed
step-ins, purchased at a bargain price of
$3.75. But triumph was followed by dis-
aster— by two disasters, to be accurate.
First, she broke the string of pearls —
Betty's pearls which she'd rummaged out
of the bureau drawer, because the mirror
had told her plainly that she couldn't pos-
sibly present herself for a screen test with
that long neck of hers and those jutting
collarbones unadorned. But the string had
snapped, and the pearls scattered over the
room and under the furniture. With trem-
bling fingers, Stella scrabbled them to-
gether and re-strung them on a piece of
twine. They looked sort of nubbly when
she got them round her neck, and the knot
in the back was a mess; But maybe no one
would notice.

Then came the second tragedy — the
tragedy of Betty's chiffon stockings, that
she'd worn only once — the tragedy that
seemed beyond redemption. Drawing the
stockings lovingly over her legs, she dis-
covered a hole in the left knee. Whether
it had been there in the first place, or
whether her own unsteady finsrer'; were
responsible, was beside the p<
gaped the hole — and even as s
horror, hands clutched at thi
hem, three runs started their l
exorable journey down her leg.

For a moment she knew th
utter desolation — stupefying, ah-engulhng.
Then something stirred within her — some-
thing deep and indefinable which lifted her
head and drew her slowly to her feet. Sud-
denly she became self-reliant, a person who
made her own decisions and acted on them.
Her hands were dry, her throat was dry ;
as a matter of fact, she could feel herself
going hard and dry all over. She stood
there a few minutes longer, rigid and
thoughtful, in the nile-green dress — and
then she went out, through the notion shop,
past her mother's withering gaze, and
across the street to the butcher's.

The butcher was a fleshy man, red cf
skin and white of hair. He owned the
store where he ran his business, and he
owned the notion shop with its few poor
rooms behind. He'd known Stella all her
life.

"Well, look what's here !" he boomed in
what was intended for joviality, as the
nile-green vision appeared on his threshold.
In a voice that had also turned hard and
dry, Stella heard herself saying that she
wanted to borrow ten dollars. She'd had
no intention of asking for more than two,
but so violent had been the initial impulse
drawing her here that it bore her beyond
her goal.

The butcher's red hands were grown
with white hair. From her second year,
Stella had stood in fear of him. But be-
cause her whole future was at stake, she
stiffened her knees, braced herself from
within and stood still as the pudgy hand

SCREENLAND

drew nearer. And when she was safe at
home again, with the bill clutched in her
palm, she decided it had really been very
decent of him to do nothing worse than
slide his fat hand over her head, past her
ears and down her neck and back as far
as the bow that tied the nile-green together
at the waist.

"She looks swell," declared Muhlmann.

"I'll say she looks swell," Pat Armstrong
echoed wholeheartedly. "Gorgeous — that's
how she looks."

"Not bad," said Betty, who, in her Sal-
vation Army bonnet, was kneeling at
Stella's feet, adjusting the folds of the
evening wrap.

Stella stood in the wardrobe room again,
surrounded by a group of extras who, for
all the critical envy of their glances, were
none the less friendly and well-disposed.

She was anointed and in readiness for
the great hour — arrayed from the skin out
— bathed and dressed in her new shoes and
stockings, her lace bandeau and step-ins.
The nile-green rustled about her, the pearls
clasped her throat, and Irene Gillespie's
indefinably fragrant perfume clung to the
folds of the regal evening wrap. Stella
kept burying her chin and nose in the soft
warmth of the fur collar.

The butcher's ten dollar bill had been
spent — all but fifty cents. She'd had a
manicure, and her nails gleamed red. Her
mouth was painted. A frantic consultation
had sent her back to the beauty shop at the
last moment for final embellishments. The
childish head was framed in a stiffly-ridged
cap of blonde waves. The face was pow-
dered and the cheekbones overlaid with
rouge, the lids violet-shadowed and the
round eyebrows plucked. A black line had
been pencilled under the eyes to make them
look mysterious, and the golden lashes
waxed till they stood out dark and stiff
as bristles.

"Now walk," Betty ordered, as one put-
ting a - horse through its paces. And
I d. Her hips felt different
>he was quivering with ner-
buoyed up at the same time
te courage. She swung her
and looked back over her
i she felt that Delara herself
could have done no better.

"She looks just like Delara," squeaked
one of the extras excitedly.

"Who wouldn't in a wrap like that!"
scoffed another.

A bell shrilled, and Muhlmann started
shooing' them out. Betty lingered till the
last moment.

"You'll be all right," she kept telling her
sister, though on a note of wild entreaty.
"Don't worry, kid. You look swell. You'll
be all right."

"Twenty past twelve," announced Muhl-
mann, when the wardrobe room was finally
cleared. Stella seated herself on a long
bench in the sunlight streaming through
the window, for she was freezing again.
She was afraid to move under all the
make-up, afraid to smile, afraid to talk.
Sitting stiff as a little cardboard model
decked out in taffeta and brocade, she
waited.

From one till two, from two till three,
from three till ten minutes of four. A
dozen times her lids drooped and her head
sank forward. A dozen times she forced
her eyes open, lest something happen to
mar the effect of the black-pencilled lines
and the waxed lashes.

At eight minutes to four Morrison stuck
his head in at the door of the wardrobe
room, filled once again with the commotion
of extras changing their clothes. "Is that
kid here for the screen test?" he called.

"Here," replied Stella automatically.

"O. K., young lady. Come on out," the
"young lady" being a courtesy due the
star of tomorrow.

Stella walked toward him, her hips
swaying in the walk she had just learned
— the Delara walk.

Morrison took one look and stood word-
less for a moment. A slow flush, starting
from his throat, mounted to his brow.
Then he found his voice.

"What's the idea?" he inquired, omi-
nously calm. "Who thought this one up?"
Stella stood five paces from him, still smil-
ing, still uncomprehending.

But as the full extent of the catastrophe
surged in on Morrison, thunder broke
loose. "What in the name of all that's
holy have you done to your hair? Waved
it ? Waved it ! — oh, my God ! Muhlmann !
Comb out those kinks ! Well, tear 'em
out then ! Soak her under the pump !
What are you standing there for? Do
something, can't you? Get those rags off
her back ! She looks like a Christmas tree
from the five-and-ten !"

The extras, in various stages of undress,
half thrilled, half terrified, watched the
progress of a scene more exciting than
any they'd ever witnessed in the films.
Muhlmann, her mouth open, took a step
forward, but Morrison thrust her back.

"Never mind," he said, his voice drop-
ping again, "it's too late now." His eyes
were still fixed on Stella. "So you waved
it, did you? Your eyelashes too, I sup-
pose. Well now, ain't that just too ducky!
/'// tell you what you've done, young-
woman — you've waved yourself into one
hell of a mess, and me along with you. Oh,
stop howling," he snarled savagely, "and
come on. He might as well take a look
for his money. Aroma! — yah!"

He strode out. Down the long hall,
down steps she could scarcely see through
the tears misting her eyes, Stella stum-
bled after him, woe and foreboding in her
heart. But her woe was as nothing to that
of the old casting director, living through
the thousandth disenchantment of a disen-
chanted existence. "Go find something,"

Meeting the Joneses in their own
front doorway! Buck Jones, his
daughter, left, and Mrs. Jones.

he was thinking. "Sure — go pick up a pin
in a haystack — go find something — "

Driscoll and Stewart and Mecklenburg
were lounging in their chairs on the set.
Morrison placed Stella in front of a painted
wall, the cameraman jumped to his dolly,
two grips on the scaffolding above hit the
arclights, which glared straight into Stella's
eyes and brought the tears streaming down
her cheeks.

"O. K?" prompted the cameraman.

There was a moment's pause. Then :
"Hold it!" snapped Stewart. He stood up,
pulled his trousers more securely through
his belt, and turned to Morrison. "That's
not — where'd you pick up this one, Bart?"

Morrison shrugged. Driscoll broke into
loud and mirthless laughter. "Under the
old apple tree," he sang below his breath,
"what a picture this dame would be !"

Mecklenburg rose slowly and walked up
to Stella, walked round and round her,
seeking the delicate, breaking hipline that
had seemed so charming the day before,
finding nothing but puffs and taffeta and
a nile-green bow. Steadying her lips,
Stella attempted the smile that had brought
the butcher's pudgy hand stealing toward
her that morning . . .

Mecklenburg turned on his heel. "Bet-
ter get Delara and be done with it," he
advised, supreme indifference to Stella and
all her wiles reflected in his retreating
back.

Knowing that the day was lost, Morri-
son still kept his despairing gaze on Stew-
art. "She's got good legs," he muttered.

The director flung him a withering
glance. "Legs be damned!" he stated. "I
ask for a human being, and you bring me
legs. You were a good scout while you
had it, Morrison," he observed, and fol-
lowed Mecklenburg to the door.

"What'm / supposed to do?" yelled the
cameraman after him.

"Go play pattycakes with the rest of the
inmates," Stewart bade him from the open
door, through which a strain of music
drifted. Driscoll whistled the tune as he
sauntered past Morrison.

"Great game, the movies, hey, fella?" he
gibed. "Small profits and quick returns."

Morrison stood staring at Stella — at this
puppet, this nonentity, this zero among a
thousand zeros.

"Well, do you want a screen test or
don't you?" asked the impatient camera-
man.

Morrison thrust his hands into the
shapeless pockets of his baggy old trou-
sers, and turned away.

"That's all for today," he growled, and
vanished into the shadows behind the set.

Stella stood alone in front of the painted
wall, where they had placed her. The
lights were turned off. That was a bless-
ing at any rate, though the tears contin-
ued to trickle from her smarting eyes.

"What's it all about, anyway?" she was
asking herself in utter bewilderment.
"What's eating those guys?"

The cameraman surveyed her thought-
fully. "Not a bad-looking number at
that," he decided, and jumped from his
box. "Nothing doing today, kid," he told
her kindly. "Some other day, maybe — "

She removed the wrap from her shoul-
ders, folded it carefully, laid it over her
arm and left the studio, heedless of the
fact that she was trailing its brocaded
splendor over the dusty pavement. What
was the big idea? she wondered. Why
hadn't they taken the test ~r' si putting her
to all that trouble "Gee, but

they're mean," s . , her lips

quivering.

She still had fift it; ef! he remem-
bered dully. Enot ' her to Wil-
ton Place — then b; Hi bra — back
to her mother's taun lere she'd
come from.

TH END :' .

for August 1935

What Chance Has Your Original Screen Story?

Gosh ! You say. Them's hard words.
Ain't fair to outsiders. Any editor can
buy big names. The editor's job ought to
be looking for, finding and springing new
talent.

All right. Suppose you take the editor's
job — just for a day. Here, have a chair.
Have a smoke. In fact, you can have the
whole studio on that proverbial silver plat-
ter— if you make another find like "David
Copperfield" or "Imitation of Life" or "One
Night of Love."

Here's the inside dope, Mr. Editor-for-
a-day. The Big Bosses are getting up the
program. Each major studio needs fifty-
two pictures a year. Just now, Holly-
wood's hard up for a Dix vehicle. It's
desperate for an Anne Shirley on the order
of "Anne of Green Gables." It needs one
Dietrich, something like "Morocco" to
bring her back to the favor of her fans.
It wants a Colman. Four Temples — to
play up those dimples. An Arliss, with
dignity and box-office plus. Yes — it needs
a Gary Cooper yarn, and it needs it in
a hurry.

Hurry! says the waiting star, who's
doing nothing and drawing a weekly sal-
ary for it. Hurry ! says the temperamental
director, tearing at his red hair. Hurry!
says the Scenario Department, twiddling
both its thumbs.

Where are you going to find your stories,
Mr. Editor? Well, if you're at RKO sit-
ting in the shoes of Betty Roberts, the
editor in. charge on the West Coast, you
return them unopened, stamped. "We do
not read unpublished manuscripts." Miss
Roberts explains that the task of giving
scripts by amateurs careful attention would
require a staff out of all proportion to the
gain.

But, if you're sitting on the judgment
seat at Paramount, you have a department
where trained readers do nothing but read
all day and often half the night, searching
for story material.

Those eagle-eyed readers are not your
only vassals. You have a staff of story
scouts as well.

Say, a little theatre in Charleston, West
Virginia, is trying out a new play. Your
story scout grabs his pigskin traveling
bag, chucks in a shirt and a tooth-brush
and hits the rods for Charleston, West
Virginia, and a seat in the front row on
the aisle. Yep, he's there to the final cur-
tain. He makes his report that same night.

Weekly word on new books and new
plays comes all the way from Vienna.
Budapest. London. Paris and Berlin.
Yep, all the way from Brest-Litovsk,
U. S. S. R.

If the story strikes the reader right, he
types a short synopsis, attaches a long rec-
ommendation and celebrates by taking the
afternoon off.

This being Monday, you wait for Friday
— the meeting day of the Story Board. If
the Story Board likes the synopsis, it goes
to the production heads, the men who will
translate the story into celluloid. The
final decision — to buy or not to buy that
pretty, little brain-child — really rests with
these handsome and competent gentlemen.

But your job is done when you deliver
those fifty-two stories. Sounds easy — but
it's not. To find the fifty and two, you
read an average of 62,000 published scripts
per annum.

But why must they be published, you
ask? Don't you ever make a find in the
stuff sent in by ambitious outsiders?

All right. Here's a batch of manuscripts
by amateurs. There's more when you finish

Continued from page 17

these. There are car-loads more down at
the railroad siding. There are big, fat
sacks waiting at the post-office. There's
a mountain up in the mailing-room. But
we'll start on these.

Manuscript No. L Hmm. It's written
in pencil. It ought to be typed. Neatly.
On one side of the paper. Double-spaced.
After all, writing is a trade and has its
tools. And so, Mr. Editor, you send back
all pencilled scripts.

Manuscript No. 2. From South Amer-

Marilyn Knowlden's Cosette in
"Les Miserables" was her 27th
role in 3 years. A proud record.

ica. Hmm. You're intrigued by the for-
eign postmark. But the script is written
in Spanish. You're not so good at Span-
ish, not any more. Here's one in French.
Your French is even less la la. And here's
one in Greek.

Sorry. But if you're writing for the
American cinema, you've got to say it in
good old American lingo.

Well, here's one served to you in King's
English, (reproduced exactly as re-
ceived) :

"My story is a true to life drama, con-
tains a counter plot, that deals with two
rival Candy Manufacturers. One Firm is
going bankrupt, while the other is Reap-
ing a harvest of prosperity. With twenty
five thousand dollars involved and a beau-
tiful Romance to create heart interest.
Would you be interested? Kindly reply
to same."

Naturally, your reply is no. It's not a
rough idea you want. You want a finished
story.

And now for manuscript No. 4 :
"In a small town in Iowa, Johnny Jones
met Susie Lee and it was love at first
sight. In two days they were married
and went to Cleveland, Ohio, to live. When
their baby was born, Susie fell ill and died
— and Johnny Jones was left, with an in-
fant baby on his hands. This is a true
story. It happened to a friend of mine. Etc.
Etc."

There's a story in every human being,
but not every story makes screen enter-
tainment.

Manuscript No. 5 :

"I get some good ideas come across my
mind and I jot them down, so far I have
about thirty pages, now I don't know much
about this manuscript or forming of these,

but I can, if you want them just what way
you say. It seems funny for a man like
me, who has never been in a studio or on
a stage or in any profession or acquainted
with any, to write as I do to you, but there
must be something to it. Please send
check by return mail."

It's easy enough to laugh at these and
thousands like these. But you don't feel
like laughing. These stories were written
sincerely enough, straight from the heart,
often from bitter personal experience.

However, a typewriter does not make a
writer. You need to know grammar.
Punctuation. Spelling. Yes, and there's
such a thing as plot construction — all of
which can be learned — by going to school
— by reading books on writing technique —
by writing — yes, and by re-writing.

Bertram Bloch of Metro says : "There's
no business in the world in which a man
can start at the top — and writing is no ex-
ception. If you're really serious about
writing, first learn to write and then serve
your apprenticeship in other fields of
writing."

Sam Marx — Loretta Mackey — Richard
Halliday — all the motion picture scenario
editors are equally frank.

You have an idea, have you? Why use
the screen as your laboratory ? Write it as
a book or a play. Let the public pass its
approval. Besides, the gamble is too great.

What gamble? Ever hear of plagiarism
suits ? They're the nightmare of the pic-
ture business. With rare exceptions, the
studio wins. But it takes time and it costs
money to fight them.

Say you receive a story in which the
main character is named Mary and the
locale New York. Later, you release a
picture whose story bears no likeness ex-
cept that the name of the main character
is Mary and the locale New York. Suit
is sure to follow.

Yet the amateur is sincere when he sues
on the Mary-New York basis or when a
plot similar to his is shown on the screen.
Many amateurs plagiarize unconsciously.
They will submit a story which they have
seen on the screen, the memory of which
has become subconscious, and which
emerges under the guise of an original idea.

Often, unusual stories, identical in theme,
have come simultaneously from different
parts of the world. Much as the studio
would like it, it cannot buy these stories
because buying from one author might lead
to suit by the _ other. A published story
gives the studio the protection of copy-
right.

Often, people will sue for plagiarism
even when the picture is made from a well-
known novel and given screen credit as
such. They will sue on the historical pic-
ture, which _ is everybody's property, and
public domain.

On the "King of Kings," which did not
deviate from the New Testament, C. B.
DeMille fought fourteen suits, one of them
by Veleska Surrat, the former stage star.
In her case, the judge decided that if there
was any plagiarism involved, it was Miss
Surrat who had plagiarized the New Testa-
ment.

Mr. DeMille has scarcely made a pic-
ture which did not result in law-suit. A
lovely old lady from the South had a par-
ticularly strong case against "The Ten
Commandments" because she sued before
the picture was released. Her manuscript
was identical with the finished film.

Mr. DeMille was worried. He knew she
did not write the script. There was no
record of ever having received her submit-

SCREENLAND

tance. Yet there was the opus, written
exactly word for word. It was only at the
very last moment that he noticed she had
written "the of" instead of "of the."

"The of." Where had he seen those two
little words, jogging cart before the horse?
Oh, yes. At last he remembered.

Many months before, a movie critic on
the Los Angeles Times had reviewed the
picture from a script. The review had a
typographical error identical with the "the
of" of this sweet old lady's.

Where, oh where was that reviewer?
Out of town, said the newspaper, off on a
hunting trip.

The studio rushed an airplane to the
happy hunting ground. The airplane found
the reviewer talking it over with a bear.
Hunting togs and all, he was rushed off
his feet, and marched dramatically into
court just as the old lady was about to
receive the award. It was proven that she
had copied her script from his review.

The case of the lovely old dishonest old
lady made the studios decide to band to-
gether and not buy originals from amateurs.

When the professional writer sees a sim-
ilar idea, he does not assume it is his. He
had has enough experience to know that
there are only seven plots in the world —

and no new story or situation ideas what-
so ever.

So, Mr. Editor-for-a-day, if someone
should ask you how to break in, answer
in the cryptic words of Howard J. Green,
who scripted "I'm a Fugitive From a
Chain Gang" : "The best way to write
for motion pictures is not to write for
motion pictures."

These are hard words. But the writing
world is not a world for softies. It's for
those of you who have a typewriter, a dic-
tionary, a hundred yellow pencils, grit, guts,
genius, something to say, and the insatiable
itch to say it !

Second-Cuess Stars

Continued from page 21

Laura LaPlante, former film star, and her husband, Irving Asher, studio
executive, welcome Ian Hunter, English stage star, left, on the set for his
first picture venture in a Hollywood production.

The Haydon child looks like a young and
passionate Ann Harding, if you can picture
such. But don't tell her so — I'll explain
why later.

From girlhood Julie Haydon was an
"actress or nothing" girl — you know the
type. Hepburn's one, and there are dozens
in show business. They peer at you from
every clump of elderberry. These fiery
children don't want to act — they have to
act, and they'd poison twenty boy-friends
for one good part.

RKO-Radio took first guess at Julie.
Three times she went to bat on that lot.
She worked in "Symphony of Six Millions"
and "The Age of Innocence." In "The
Conquerors" she played Ann Harding's
daughter, and thousands of people told her
they simply must be sisters. Hint at the
resemblance today and the girl screams
and climbs a trolley-pole. Sheer boredom
with it all.

The first guess didn't take, and she went
on trouping. Arthur Hopkins promised
her a role in the new Philip Barry play,
"The Bright Star" — and then postponed
production until next fall. At this point
Chico Hecht and Groucho MacArthur
caught her. There on Long Island she
played the pear-blossom so foully trampled
by the naughty Coward. There, among
that fizz-brained crowd of geniuses and
crack-pots, Julie Haydon found herself.

And there Paramount found her! Be-

fore she knew what time it was, luck's
lovely lightning had struck her again. With
no warning at all she was a member of the
heavenly host of Hollywood's second-guess
stars !

And we'll observe the didoes of young
Haydon with interest as we remember the
other members of the club. We shall
think of Mr. Clark Gable, Pride of Cadiz,
Ohio, who was for so long Hollywood's
little pet football. Whenever the wise
men of the west wanted to kick the gong
around, they sent for Clarkie.

He was drop-kicked from lot to lot, until
someone at Metro, after a good lunch,
thought it might be smart to revive the
sock-in-the-jaw school of Great Movie
Lover. Clark was summoned from the
back lot, where he had been taking a nap
to forget about eating. They pinned back
his flap ears, fixed his toofies, taught him to
scowl with love and to kiss like a vacuum
cleaner. Gable should now be president
of The Second-Guess Club.

We shall remember a little girl named
Harriet Lake from Broadway musicals,
who sat around the Metro lot for months,
only rising to pose for publicity pictures
when prettv legs were needed in the name
of cinematic art. Suddenly, after a spell
on Broadway, she came back to Hollywood,
was grabbed by Columbia, given a new
name, Ann Sothern, and a new set of
golden bangs, and has hardly had a day

off since. Hollywood re-discovered her.

Now this gorgeous second-guess leaps
from lot to lot with the greatest of ease,
and such pictures as "Eight Bells," "Folies
Bergere," and "Hooray for Love," in
which she toils, lap each other all over the
landscape.

Bette Davis was a sad sight in Universal
days — an able maiden badly turned out and
cast in the silliest films that ever turned
the tummy of a professional wrestler. An
inspired soul at Warner's rebuilt and pol-
ished her, gave her some suety parts — and
now a thousand Davis fans leap from high
places because the golden girl didn't get
the Academy award for 1934. "Of Human
Bondage" was the film. There was a
second-guess, fortified with plenty horse-
sense !

We need hardly pause to mention the
glorious Grace Moore, the ten best sopranos
of Tennessee — eased gently out the postern
gate by M-G-M, only to be shot to fame
by Columbia in — what was that picture? —
oh yes — "One Night of Love."

Another RKO muff was Nelson Eddy,
but Metro grabbed him on the second
bounce, and "Naughty Marietta" set the
girls of the world a'sighing over his manly
charms.

At this point let me scotch, once and for
all, the legend that M-G-M fumbled the
great Fred Astaire when he was buried in
Joan Crawford's "Dancing Lady," and that
his escape to the RKO stockade followed.

The truth is that he was under contract
to RKO at the time, and was loaned to
Metro while his first film for his own
company was in the story-conference room.
Good old snapping Leo has some bad
guesses marked against his venerable whis-
kers, but Astaire is not one.

On the other hand, it was Leo who took
charge of the destinies of Myrna Loy, after
that copper-haired, freckle-nosed Montana
belle had spent a young lifetime in absurd
oriental cutie roles. That was one of the
finest second-guesses Hollywood ever made.

And it is in this fast and tricky company
that Julie Haydon now finds herself. Once
more a major film company means well by
her. Again she's on the movie payroll,
with her fate in the hands of the giddier
gods.

And it all depends on so little! The
faintest breath can make or bust these
second-guesses. The perfect role at the
precise moment. The judgment — even the
airiest whim — of a director. With the
breaks, they shoot up ; without them, they
slip into the shadows.

Rated on her work in "The Scoundrel,"
gallant little Julie Haydon richly deserves
her second guess. She's an artist from
her heels to her back hair. Let's hope she
joins the reel immortals who died in Hol-
lywood— and rose again!

for August 1935 63

Evolution of a Platinum Blonde

Continued from page 14

become a fan writer, and if you take my
advice, selling china in Macy's basement
is far more restful and conducive to lon-
gevity, you will learn to your amazement
that inevitably a star's breakdown and a
deadline assignment will coincide every
time. So what was I to do? Especially
as I had boasted to Delight Evans many
a time that Jean and I were just like that.
So I sent an S.O.S. out, via Western
Union, which said, "Could you carry on for
dear old alma mater ?" and it seems that
Jean, grand sport that she is, could and did.
On Friday afternoon, the first day she had
had off in eight weeks, she dragged her
aching bones, her croupy croup, her beauti-
ful body, and her make-up poisoning down
to the cute little red bar in her Holmsby
Hills home, drained a glass of tomato juice,
and said, "Liz, make me a sentence with
Seattle in it." I couldn't, so Jean said, "Let's
go to the theatre and see Ethel Barrymore."
Now that's the reason I am nuts, completely
pecans, about Jean Harlow.

Well, an evolution's got to start some-
where, and I suppose the first interview
Jean and I had in New York five years ago
is as good a starting place as any, especially
as it was only a few weeks before that an
enterprising press agent had dubbed Jean
the Platinum Blonde. Still grouching
about wasting my time, though heaven
knows I had plenty of it to waste, I followed
Tess to a suite at the Ambassador Hotel
and fairly fell- in Jean's arms trying to avoid
an avalanche of roses and orchids from New
York's chipper mayor. Jean was pleased
with . the flowers, she was pleased that I
had noticed the mayor's card, she was
pleased that she could say, "Waiter, bring
tea" six stories above fashionable Park Ave-
nue in one of New York's swankiest hotels
— in fact Jean was getting a big kick out
of everything and so pleased with life in
general thai soon her exuberant pleasure
became contagious and the next thing I
knew I had forgotten my sneers and was
telling Jean about New York's skyline —
which was ruthlessly breaking the inter-
viewing code, as "How do you like New
York's skyline?" was considered a hot ice-
breaker with visiting celebrities in those
days.

As a novitiate in the Hollywood star
racket Jem made two horrible errors that
afternoon : she served tea, and she allowed
her mother to sit in on the interview. But
after Mrs. Bello's swell contribution about
Jean's rebellion against long drawers I for-
gave her for being a mother ; and after
Jean suddenly, and to her great surprise,
found an old bottle of brandy under the bed
in the next room and somewhat shyly sug-
gested that some people liked brandy in their
tea and;, perhaps I was one of them, I forgave
Jean for serving tea. I don't know whether
it was Jean's fine old southern hospitality
or the brandy's fine old bouquet but I must
have waxed very enthusiastic over New
York's might life; for they insisted that I
must shjow them a little that very night —
they wh,o could have had a mayor, or a
chamber' of commerce, or A. C. Blumenthal.

Jean had to make a personal appearance
at the Criterion, which she did with a poise
and a beauty and graciousness that utterly
endeared her to the audience ; and after that
we found ourselves, not at the gilded Ritz,
but at Coney Island cavorting around like
a bunch of kids at a picnic. The Platinum
Blonde went foi a hot dog smothered in
onions, and on a. clare did away with a second
and third. She was the first to hop on the
roller coastei and the last to leave the shoot-
ing gallery, vhich accounted for the fact

that we had two pooches, a Dutch clock, a
set of china, a bird cage, two rag dolls and
an Armour ham to take back to the Am-
bassador in the cab that night. Whoops, my
dear, if you could have seen the door-man's
face !

Well, I don't know what you call it, but
as an interview I called it a wow, and as I
washed the mustard from behind my ears
and combed the popcorn out of my hair I
decided that a swell gal like Harlow was
bound to go a long way in pictures, and
that in my modest little manner I would
help her all I could. In fact I became such
a rabid Harlow fan that if I even suspected
that anyone was about to belittle my pet I
simply tore them in shreds and threw them
to the lions.

But what was Jean like in those days, be-
fore the evolution of the Platinum Blonde
set in? (Ohmygosh, I mustn't forget the
title of this story.) She was nineteen then
with the loveliest complexion, the clearest
eyes, and the most exotic hair I have ever
seen, and she had a penchant for green sports
dresses and glove-fitting white evening
gowns that made men go mad. She was the
most accommodating budding movie star
star ever to hit New York, and nothing was
too unimportant for her to do. She played
benefits no end, she appeared on anybody's
radio program, she gave interviews to people
who hadn't written a line since they copied
"Honesty is the best policy" twenty times on
the third grade blackboard ; why, she even
sold apples in Times Square to aid the un-
employed. I don't know how her vitality
kept going, but go it did, and never once
did I hear Jean mutter or complain that she
was being imposed upon. Some of us tried
to tip her off that she was being taken ad-
vantage of. "Jean," we said, "they're mak-
ing a sucker of you. Most of those people
don't count. They're just getting something
for nothing." "Oh, no," said Jean, "they
could have Beatrice Lillie, or Gloria Swan-
son, or Ethel Barrymore, but they want me.
And I'm awfully pleased to be wanted. And
besides, it's such a little thing to do for any-
body."

So Jean kept on doing "little things" for
people like talking at benefits, laying a
cornerstone in the Bronx, opening a milli-
nery shop in Brooklyn, smashing a bottle of
champagne on an old scow, and appearing
at any theatre or broadcasting station in
town whose manager would take the trouble
to call her number. That was Jean's

Karen Morley and Mickey Rooney,
two of the screen's best bets,
in a scene from "The Healer."

chief fault then, she couldn't say "no."
( Speaking of calling her number, my pet
joke on Jean has always been the morning I
called the Ambassador and asked to speak
to Miss Harlow, and was connected with the
boiler room. After that I definitely knew
that Jean was hot stuff.)

Life to the Harlow in those dear distant
days of 1930 was quite a simple matter. She
knew she had become sensational quite by
accident, she didn't think her success would
last longer than the third run of "Hell's
Angels," and everything was a lark and
everybody was her friend. As one writer
aptly expressed it, "Jean Harlow is like a
month-old puppy. She is impulsive and
playful and eager to make friends with
everyone." If Jean had been more discrimi-
nating with her choice of friends she would
have saved herself a lot of anguish later.
But it just wasn't in her nature to be cau-
tious. Jean, alas, is one of those rare idiots
who sees only the good in people.

Jean's idea of a grand vacation is a fish-
ing trip, and every chance she gets she rents
a boat and takes her mother and a few
friends deep-sea fishing off the coast of
Mexico. She is a fad addict of the first
water : one week she will go simply mad
over crocheting, and the very next week she
will become ecstatic over basket-weaving.
She can never talk seriously to friends ; the
better she knews you the more insane her
conversation becomes — it is the interviewer
who is meeting her for the first time who
gets the best story. She adores pajamas,
and hates dress-up clothes, and refuses to go
shopping, so her mother has to buy every-
thing for her. She never "tells people off"
when they make her mad or hurt her feel-
ings ; she simply closes up like a clam and
starts peeling off finger-nail polish — her one
display of nerves. She loves Angora cats,
has several of them, and likes to drive a car
and write letters. She's usually among the
last to leave a party because she always has
a grand time, and if you want to make her
utterly happy just let her slump down in a
chair, prop her feet on another chair, and
tell stories — it may not be glamorous, but
its comfortable. She considers one of her
best friends to be a chef at a hotel in Kansas
City where her mother used to take her to
luncheon every Saturday when she was a
school kid— he'd always bow quite low to
her, making her feel terribly important, and
inquire, "And what will Moddom have
today ?"

When I received the assignment to do
"The Evolution of a Platinum Blonde'' it
had been some time since I had interviewed
Jean, though of course I had seen her casu-
ally at parties from time to time. I ex-
pected to find her greatly changed from the
exuberant Harlow of the "Hell's Angels"
days. There had been tragedy in her life,
unkind publicity, sorrow, bitter disappoint-
ment, despair, and malicious lies from people
she had befriended ; and I was sure that by
now the carefree girl I had once known
must have developed into rather a hard,
cynical woman. But to my surprise I dis-
covered that Life is still a simple matter
and quite a lark to Jean, that she still thinks
that she is a movie star by the sheerest acci-
dent, and that she will be completely for-
gotten at the end of her next picture so why
get all worked up about things. Hardly had
Jean slumped down in her chair, propped
her feet, and exhibited with pride the hand-
kerchief she is hemstitching for Bill Powell,
(the fad's hemstitching this week), than I
realized that her attitude hasn't changed one
bit. There's that same infectious gaity, that
same impulsiveness, that same trust in peo-

SCREENLAND

pie, and that same desire to co-operate with
everyone.

"Have I changed?" Jean pondered a bit
after I had explained to her about "The Evo-
lution of a Platinum Blonde." "Why, of
course, I have, Liz. I can eat five hot dogs
with onions now instead of only three, and
the last time I went to Ocean Park I brought
back two hams, and I don't mean actors.
Oh, don't look like that — you know I can't
be serious with anyone I know. If I said

anything^seriously you'd rib me about it for
months. 'Come on, now, and help me think
up something snappy to say at a benefit next
week."

"Benefit?" I shrieked, "Jean Harlow, I
told you five years ago to give up benefits.
Let somebody else be the sucker sometime.
Already by actual count you have appeared
at ten benefits and five free radio programs
this year. Jean, you're a sap."

"Oh, no," said Jean, quite seriously, too.

"I'm flattered that they want me when they
could have Joan Crawford, or Carole Lom-
bard, or Mae West. And besides, it's such
a little thing to do for anybody."

"So help me, Jean, you really haven't
changed a bit," I mourned, "whatinheck am
I going to do about 'The Evolution of a
Platinum Blonde'?"

"Better wire Delight that nothing ever
happens in the Grand Hotel," was Miss
Harlow's contribution to my dilemma.

Ask Me!

By Miss Vee Dee

Two former "Greats" who return to films in "Black Sheep." Florence Turner
and Rhea Mitchell, who played leads opposite William S. Hart. Standing
behind the actresses is Director Allan Dwan, their friend through the years.

Betty Jane S. Do I ever meet Cary
Grant at the Cocoanut Grove? That would
be telling and I promised not to reveal any
Cocoanut secrets. Cary doesn't give his
age, but he was born on January 18 in
Bristol, England. His family name is
Leach ; his grandfather, Percival Leach,
was a successful English stage actor who
spent his life-time in the theatre. Cary is
6 feet 1 inch tall, weighs 172 pounds, and
has black wavy hair and dark brown eyes.
He was married on February 9, 1934, to
Virginia Cherrill. Sorry — now divorced.
He has a fine baritone voice, and here's
hoping the producers will give us a chance
to hear him lift his voice in song or
words to that effect. In "Ladies Should
Listen," he played opposite Frances Drake.
In "Wings in the Dark" with Myrna Loy
and Henry Wilcoxson, the English actor
who played with Claudette Colbert in
"Cleopatra."

Helen W. B. You have such a coaxing
way with your request that I cannot resist.
Though I have broadcast recent informa-
tion about your favorite, Lanny Ross, here
goes for another blurb. He isn't in love
with Mary Lou of the Shoivboat Hour — ■
that's all in the script. He hasn't bought
the ring yet as far as I know but they say
there is a lovely lady in the offing. Lanny
was born in Seattle, Washington, on Jan-
uary 19, 1906. He is 6 feet iy2 inches tall,
weighs 165 pounds and has blue-grey eyes
and medium brown hair. I'm safe in say-
ing his chief pastime is singing.

Mrs. M. A. L. So you admire John
Boles and his singing voice in far-off

Africa. John appeared in "Music in the
Air" in which he sang several numbers.
He co-starred with Loretta Young in "The
White Parade" and appears with Dixie Lee
in "Red Heads on Parade."

Kay Tee. Binnie Barnes is an English
actress who created a very favorable im-
pression in "There's Always Tomorrow''
with Lois Wilson and Frank Morgan.
Ronald Colman's latest release was made
under the 20th Century-United Artists ban-
ner, "Clive of India." Loretta Young is
his leading woman in the film. Ronnie's
next picture will be "A Tale of Two
Cities."

Inez B. It would be hard to believe
that all the stars' pictures sent to the fans
are personally autographed but it's grand
to get the pictures even without the per-
sonal signatures, don't you think ? Tom
Brown is getting some good roles these
days and are we glad? He was born in
New York City about 21 years ago. He
has brown hair, blue eyes, is 5 feet 10 inches
tall and weighs 150 pounds. Among his
more recent pictures are : "Bachelor of
Arts," "Judge Priest," in both of which
he appeared with Anita Louise; "Anne of
Green Gables ;" "Black Sheep," and his
next will be "Annapolis Farewell."

Dolores F. Where are the stars of by-
gone days or yesteryear ? Well, Thomas
Meighan makes a picture now and then.
His last was with Jackie Cooper and Jackie
Searl in "Peck's Bad Boy," released during
the past year. Clara K. Young hasn't made
a film for some time. Estelle Taylor's last
picture was "Street Scene."

Dorothy S. Norma Shearer was born
in Montreal, Canada, on August 10, 1904.
She was married to Irving Thalberg on
October 6, 1927, and their son, Irving Jr.
was born August 24, 1930. Norma's first
screen appearance was in 1920, in a small
part in "The Stealers."

Old Timers. After breaking several
pairs of glasses looking for the "Broken
Coin" and "The Red Circle," two serials
of 15 or 20 years ago, I've found every
kind of coin and circle but the above. I
have a number of films in which Pearl
White appeared, so if you shuffle these
around a bit you may be able to find the
ones you want. One of Pearl's outstand-
ing serials was "Tl ; Peri i ^auline,"
then came the "Elaii owed by

"The Iron Claw," . Ring,"
"Pearl of the Army,' Hazel Kirk.'fc "May
Blossoms," "New ' "The

Black Secret," "The " "The

Thief" and "Plunder. '

Jean B. After hea Iddy on
the air, it was a tre; : h on the
screen in "Dancing Ls foan Craw-
ford, Clark Gable and ■ Sorry
I haven't a picture of i to send you
but why not write .UtKo-Guldwyn-
Mayer and ask for on . ,.. >peared
in "Student Tour" anc ; Mac-
Donald in "Naughty M dapted
from the Victor Herbe."

Conchita Montenegro ,
tennis costume she'
made of silk-wool sac

for August 1933

• How precious a simple snapshot can be . . . Don't take chances
with pictures that mean so much. Your camera — any camera — is
better when loaded with Kodak Verichrome Film. Verichrome
gives you the true expression, the naturalness. Your snaps turn
out just the way you've always wanted them. Always use Veri-
chrome and be sure . . . Eastman Kodak Company, Rochester, N. Y.

This day will never come again —
save it with snapshots

SCREENLAND

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Screenland'S Crossword Puzzle

By Alma Talley

■

ACROSS

1. Co-star of "One More Spring"

6. A famous movie baby
11. Mrs. Cedric Gibbons
13. Movies, in England

15. Something actors do in dinner party scenes

16. Most stars are this by nationality

20. What the hero feels toward the villain

21. Enough (poetic)

23. To foretell

24. Famous volcano

25. Kind of rock (plural)

27. Slow-moving shelled creatures

29. She plays the Russian Princess in "Roberta"

30. Relates

31. The new British leading lady from Tasmania
34. When the movie is good you it

36. Catalogues
40. The East

42. Sharp rock

43. To boil

44. Hurried

45. One

46. Bone

47. Part of to be

48. What an assistant director does
50. Drunkard

53. Put away for future use

55. Necessity

56. Small sardine-like fish

58. Employs

59. River bank

62. To change setting, as jewelry

65. Prevailing system of government

66. Less original, like some movie stories
68. Troubles

70. Barthelmess, Arlen, Cromwell
72. Bones

75. The ex-Mrs. Harry Bannister

76. Babbie, in "The Little Minister"

78. What slap-stick comedians used to throw

79. Leakage
81. Section

83. Rowdy brawl (slang)

84. Leading lady in "Clive of India"

DOWN

1. Star in "Forsaking All Others"

2. Contraltos

3. Word unknown to a yes-man

4. Historical period

9.
10.
11.
12.
13.
14.
17.
18.
19.
22.
24.
26.
28.
31.
32.
33.
35.
37.
38.
39.
41.
43.
49.
50.
51.
52.
54.
56.
57.

60.
61.

63.
64.
65.

67.
68.
69.
71.
73.
74.

76.
77.

The screen's "Little Colonel"
In direct line of decent
Printers' measures

Jeanette MacDonald sings this practicing
her scales
Leaves out

What your sweater is made from

Mrs. Joel McCrea

Peaceful

Star of "Devil Dogs of the Air"
The background for a navy picture
Take offense
Exists

Bean from which medicine is made (ugh!)
During

Famous mimic (mostly of vaudeville)
Enclosures for sporting events
Sickest

Co-star of late Marie Dressier
Rub out
Wash lightly

Hepburn's role in "Little Women"

What all extras hope to become

There are this many Barrymores acting

What flowers grow from

High explosive (abbrev.)

Signal of ship in distress

What a star does between pictures

What talkies brought to the screen

Conjunction

Hot-tempered person

External

Non-Aryan, descendant of Shem

Stage and screen star (Maynolia in stage

"Show Boat")

For example (abbrev.)

A shrew

Star of "Behold My Wife"
And, in a French version

Star, now dead, made famous in "The Big

Parade"

To mature

Has been

Aces

Exclamation

Our favorite crooner ("Here Is My Heart")
The background for filming a picture (inte-
rior)

Krazy

Conceited actors have lots of this
Liquid measure (abbrev.)
Greek letter

for August 1955

Creating the Color
Craze

Continued from page 19

the technicians — there is what I choose
to call 'multiple production.' That is, the
gifts of perhaps ten unexcelled geniuses in
their respective arts are at the disposal of
a fine star. Take Miss Shearer. Her flaw-
less perfection is the expression of the finest
hairdressers, make-up artists, masseurs, de-
signers, authors, dialogue writers, interior
designers, directors, cameramen and what-
not. She is, coupled with her intrinsic per-
sonality, a masterpiece of co-operation, as
are all the other fine stars. And women may
appropriate much of this valuable research
for themselves.

"Constance Bennett, Joan Crawford,
Dolores Del Rio and the other more colorful
leaders of fashion for their groups will gain
in glamor ; for, in color films — no matter in
what film or who designs it — an interesting
star of repute will look more beautiful, more
fascinating. (One does not give a child
black and white toys to play with, does one?)
Women, everywhere, will learn their 'types'
and discover a great deal about how to make
the most of their own possibilities. Eye
shadow, lip rouge, eyebrow pencilling, sun-
tan make-up, and no make-up at all except
vivid lipstick will be carefully studied and
developed personally by women whose type
runs parallel to a given star.

"How should a blonde dress, you ask,
what colors should she effect? That I can-
not tell you. Show me the blonde ! A
blonde might fall into the little kitten cate-
gory whose personality is best expressed in
pale blue; but she might also be a blonde
who hides a bottle of anisette under the sofa
when you come in, along with a volume of
Proust. There can be no general rules for
blondes and brunettes, as such. It is type,
plus color, which confirm the definition of
personally as 'being individual.' "

Marion Davies, whom Mr. Jones knows
very well, will, he says, be "perfection" in
the new color films with her lovely blonde
pink-and-white beauty, her infallible regard
for clothes and jewels. Just as the Joan
Crawford-Lc/fy Lynton dress created a
vogue, and the Garbo pill-box hat rever-
berated to the farthest corners of the coun-
try, just so will the color schemes of Joan
and Greta in future films create new ideas
for women who pattern themselves on those
stars whose coloring and personality they
nearest approach.

What possibilities! Can't you just see
new sensational gowns, jewels, flowers in
Garbo Grey and Mauve Mae (West) to
say nothing of Bennett Beige, Crawford
Creme of Gardenia, and Hepburn Helio-
trope? Already Mr. Jones has created
Becky Sharp blue, a lovely live hue to match
the glory of Miss Hopkins' very blue eyes.
It is a fascinating color and, if my person-
ality were Barrieish and my eyes blue as the
lovely Miriam's, off I would be for a new
frock or neglige^ in this so-lovely color
which is not so blue as delft and not so violet
as periwinkle. I've seen it, for Mr. Jones
treated me to some preview scenes from
"Becky Sharp;" and — well, you must see it
for yourself!

Just as costumes are going to be greatly
affected by color films, so also will be the
"settings" for those clothes. The dinner
scene in "Becky Sharp" showed the most
beautiful detail in design, texture, and of
course, color. For instance, the Chippen-
dale furniture, the Crown Derby china, the
Waterford glass, and the lovely Sheffield
silver took on new importance. Granted j
they are beyond the means of the great ma- I

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SCREENLAND

jority who will see the picture, by merely
seeing them women, nevertheless, will begin
to realize the importance of striving for
perfection; and, in time, just as clothing
has been individualized by manufacturers,
so will settings and furniture and glassware
and china, and we will all become lovelier
creatures, living in more gracious homes
expressing impeccable taste and forming
the just-right set-off for our personalities.

Brunettes vary as widely as blondes, so
Mr. Jones says. "There is the tall, Grecian,
statuesque type — a Junoesque creature — and
there is the little, glowing brunette with the
straight, shiny bob, who could no more wear
what the other does than could a blonde.
Therefore, I say, dress for your aura —
your soul, that is.

"Let me take Garbo as an example of
what I mean. When Garbo appears on the
screen there is an entirely different 'feel'
than when any other player comes on. Im-
mediately one says : 'Here is a personality
that is expressed in intelligence.' Garbo
colors, therefore, are the image of Garbo
which one receives when she enacts a role
What is that ? Won't you agree that it is
a remoteness, a coolness, a prophecy ? One
paints her mentally in subtle colors such as
one might find in obscure Oriental paintings
and tapestries, for the Oriental has known
for hundreds of centuries the vagueness, the
aloofness, the key to infinity, if you will,
which the Occidental has yet to learn. At
the Chinese rooms of museums one may dis-
cover what the East always has known and
what the West has yet to learn. Study
them.

""How would I dress Del Rio? In vivid,
striking colors, for she is a vivid, striking
personality with a dusky beauty. Diego
Rivera should be better able to express her
charm, for he would have a palette for her.
In my belief she should have a Mexican color
scheme influenced by American tonality."

And so, as you will see, it is wiser to select
your own materials in the right textures
and colors to fit your personality, and, as
he says, have "Aunt Minnie run them up
for you," than it is always to buy ready-
made things that somewhere between tone
and line over-ride or under-play your indi-
viduality.

"Women will begin to think, as they see
a picture, of the right cut coupled with the

All ambitious beauties! These
Warner starlets like school. Stand-
ing: June Travis, Nan Gray, June
Martel. Seated: Maxine Doyle,
Olivia de Haviland, Dorothy Dare.

right fabric. Let me tell a little story of a
working woman with very little means. It
seems she had some plaid material that was
just right for her growing daughter. But
it was considerably the worse for wear and
she could not decide how to cut it so that
the squares might fit. This consumed a
great deal of her free time.

"One night her wealthy mistress offered
her a ticket to hear Fritz Kreisler play.
She was not much impressed, having had
little experience with things cultural ; but,
being possessed of the ticket, she went.
The music was soothing and gave her an
opportunity to think in peace about just how

she should cut this plaid material, which was
daily becoming more of a problem because
of the fact that her daughter was rapidly
shooting up.

"Finally Kreisler came to the end of his
selection with a brilliant feat of ascending
crescendo and then it all came to her. As
with the notes, she would cut the plaid 'on
the bias !'

"By which I mean to illustrate that doing
things with materials will occur to the audi-
ences who see color films. Paintings will
be translated to fit clothes ; and landscapes,
seascapes, and the bright plumage of birds
will suggest apt color effects. Films will
not be just so much 'color,' as tonal expres-
sion. And in Hollywood they are in a posi-
tion to make the most beautiful settings in
the whole world, with such lovely women to
work with — though all women may learn
to be 'theatrical' in the sense of wearing
things appropriate to the 'roles' which they
play in life itself !"

Mr. Jones wants to find a woman with
two kinds of eyes — one blue and one brown.
At the moment the only player who has
such ambiguous oculars is said to be Colleen
Moore — and perhaps, as sound made some
of the silent stars bigger and better talking
stars, color may mean big things for her.
So, if you, too, are one of those fascinating
creatures don't be disturbed. Take heart !
For, as Robert Edmond Jones says, the
new vogue consists not so much in express-
ing clothes in a few particular colors as en-
larging and permitting expression in as
many as possible. It is merely a pattern of
color, an arrangement of colors, which
makes the intriguing ensemble.

The finest thing which color might pro-
duce, in Mr. Jones' opinion, would be a ver-
sion of Shakespeare's "Hamlet" with John
Barrymore in the title role. It was Mrs.
Jones, known to the theatrical world as
Margaret Carrington, the singer, who
taught and coached Barrymore in the stage
version. Among other things she was re-
sponsible for the discovery of Margot.

The evangelical Jones repudiates a state-
ment supposedly emanating from him that
he never again intends to touch the theatre.
He feels both stage and screen have now
much to offer him — and, with "Becky
Sharp," he will prove conclusively to you
that, from him, they both have much to gain.

For Beauty's Sake

Continued from page 52

real perfume, blended and aged in dilution,
so you can spray or douse it all over you
without being over-perfumed. It should
always be applied direct to the skin. It
gives you a personal fragrance that sifts
through your clothes and stays with you
right through the day.

Eau de Colognes are somewhat different,
but also give you a grand feeling after the
bath. A true eau de Cologne has a sweet
and refreshing fragrance. At the same
time, it has tonic qualities due to the
blending of citrus oils — mainly bergamot,
lemon, orange, neroly and some rosemary
or lavender. The lasting qualities vary
with different eau de Colognes, and one
should remember this in making a selection.

Cooling drinks help you to look cool
by feeling cool. The most cooling drinks
are made with lemon or fresh lime. Let-
ting cold water run on your wrists helps,
too. The arteries are so close to the sur-
face at your wrists that, by cooling the
blood stream there, you get an effect that
carries right through to the tips of your
toes.

Of course I needn't tell you, (just re-

mind you), that you must be doubly care-
ful to avoid unpleasant body odors in hot
weather. A good perspiration check or
under-arm deodorant will take care of
most of you. Some may need a deodorant
soap. Dusting powders are a big help to
Summer daintiness, but be sure to select
one with a fragrance that doesn't clash
with the perfume you want to be the real
expression of you.

Powder sprinkled into one's shoes has
a way of saving stockings and preventing
tired feet. If your feet become really pain-
ful from the heat, don't hesitate for a
minute to use one of the medicated foot
powders. They save a lot of discomfort
and forehead lines !

Give very special care to your Summer
face, It has a hard time when it's up
against the sun ! Tan is lovely on some
faces, but don't forget it is drying. If
you've gone in for tan in a big way, be
lavish with your lubricants. You'll be
glad you were when Fall comes around.

There are very few complexions that
look their best without benefit of water.
Soap and water cleansing always for the

oily or normal skin. Cleansing creams, yes,
to take off the make-up, but a really good
lather wash afterwards.

For dry skins, water soluble or liquify-
ing cleansing creams are excellent. And
you don't need to be afraid to douse your
face with cold water after any cleansing
cream. Cold water is one of the best as-
tringents in the world, and it does things
to refresh and brighten your eyes.

A very great aid toward perfect cleans-
ing of the lace is a little complexion brush,
gentle but firm. It works the lather or
cream into the pores, gets out impurities
and removes the dead surface particles of
skin that are no help to any complexion.
You know, there are many layers of skin
and the top one is the worst. Actually,
we are constantly shedding our skin. The
dead particles that remain on the surface,
(unless we remove them), cloud the beauty
of the skin underneath.

Use a lasting foundation and make-up
that you've put on by daylight. Reflect
cool beauty and you can be sure you'll be
a refreshingly welcome sight to all who
see you!

for August 19 3 5

^Jkree Columbia Start
Reveal

Hollywood's

eau

Blonde, brunette, brownette, redhead!. . .
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EYES

It Uft

Very Light O

Fair □

Crrimy D

Medium □

Ruddy □

Sallow □

Freelded □

Olive □

Blue □

Gray □

Green □

Ha«l □

Brown a

Black Q

BLONDE
Light „□ Dirk._D

BROWNETTE
Ligh[„D Dark._a

BRUNETTE
Light__D Dark._D

REDHEAD
Lighr._Q D«k._D
If Hair,, Cray. Axel
type a£o»f Jid httt-O

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Light □

Dark □

SKIN Dry D
OilyD Normal □

AGE

SCREENLAND

She Knew Clark Cable "When"

Continued from page

Salutes of the season by four of the screen's foremost! Virginia Weidler,
David Holt, Baby LeRoy and Lois Kent, stage a noisy get-together.

those old stock days. Guess I still am
pretty dumb as far as that's concerned!"

"Better be slower and surer, than to
rush around wildly and blindly and get
nowhere," I exclaimed, coming to the res-
cue. Clark shot me a grateful look. "An
orchid to you for that one !" he grinned.

Soon the two of them were reminiscing
again on all cylinders.

"Remember how your wife, (first wife,
Josephine), came onto the scene one day?"
smiled Betty.

"I DO!" Clark promptly answered. "It
was the first day of our rehearsal and
you and I were sitting in the usual little
corner, waiting for our cue, when onto
the stage she came — "

"Came in all her splendor," interrupted
the girl. "She was all dressed in black
and had a long — oh, an awfully long
trailing gown — and in a very deep, extraor-
dinarily dramatic voice and with exceed-
ingly dramatic gestures, she delivered her
lines. I had not seen this actress before —
she had been newly hired and I learned
afterward it had been unnecessary for her
to be called in at previous rehearsals. So,
I whispered in the well-turned Gable ear
— well, what did I whisper?" she de-
manded, turning to the popular actor.

"Your exact words, I think, were 'Who
in all this world of wonders is that Grande
Dame?'" said Clark. "And I whispered
back, 'Ssh, Betty, that is my wife !' which
plainly flustered you ; but you did, how-
ever, manage to ejaculate, 'Gosh — I didn't
dream you had one of those — er — things !'

"My reply was — -'Oh, very much yes,
and we had better be giving some atten-
tion to our lines and not whispering any
more or we will hear from it pronto — both
from the manager and the missus !' Inci-
dentally, Josephine only stayed two weeks
with our company."

"I don't suppose you remember the time
you nearly swallowed your teeth, eh,
Clark?" teased Betty. "Is that a dark
secret in your life or shall I tell about it?"

"Go ahead and tell," smiled He-Man
Gable with a shrug of broad shoulders.
"I'm game."

So Betty told how Clark one day while
right in the midst of his role, suddenly
felt his "pet" bridgework loose and slip-
ping around in his mouth ! What could
he do? Talk about your embarrassing
moments — that was it, as far as Clark was
concerned! He did just about all that he
could do — he didn't want that bridgework

to hop right out onto the stage — so he
clamped his jaws tightly together and pro-
ceeded to mutter his lines, as best he could,
between clenched teeth.

"After the matinee," went on Betty, "he
promptly headed for the dentist. Now, my
mother happened to be a dental nurse of
some reputation and knew dentistry from
A to Z, so I took him to see her. He dis-
covered his bridge could not be repaired
immediately, and yet he had to have the
missing teeth quickly replaced — so my
clever mother fixed him up with some tem-
porary teeth that he could wear that night.
It was successfully done and no one ever
knew the difference. That bridgework of
Clark's is so perfectly done, it can hardly
be detected even by a dentist today."

"I had no time for social activities at
that period of my life," reflected Clark.
"It was ten o'clock morning rehearsals,
then a matinee performance, followed by
the evening performance, and then study
until 2 or 3 o'clock in the morning. Little
was the sleep that I got — only 5 or 6 hours
of it. I reckon my only 'social' hour was
spent around the corner from the theatre
each night after the show, when we would
gather for a 'hamburger-and-cup-of-coffee.' "

"One thing I recall quite vividly," de-
clared Betty. "During our second season
— when I became ingenue — you came back
to the company, too, and with the help of
the leading lady, a Miss Brooke, you began
presenting me with the contents of my new
make-up box. I believe you gave me the
largest box of cold cream I ever saw."

"Yes, I remember that," recalled Clark.
"You were such a pert little kid we were
glad to help you out and mighty glad to
see you getting ahead."

"That make-up box was my proudest
possession," she continued. "I still have
it, of course."

"Got my old one, too," returned Clark.

"Betcha you haven't still got that little
green roadster you sported?" Betty won-
dered with a smile.

"Nope. That went to Heaven — via junk
heap ! I picked it up, you know, for a
song, and it was some song while it lasted.
It was a Willys Knight and I was really
lucky to have any car to ride around in,
considering my previous hard-luck experi-
ences. In that green tub we'd have many
a nice ride to your home, wouldn't we,
Betty?"

"Absolutely ! I recall one evening it was
raining awfully hard when we left the

show-house. My mother usually came
after me and that night proved no excep-
tion. The three of us piled into the car
and — av ay we traveled. I was scared stiff
for fear we might skid on the wet roads ;
but Clark would only laugh, 'Oh, there's
no danger at all!' Well, we reached home
safely and quickly and I was so relieved
that I blurted forth childishly : 'Thanks,
old boy, for not giving me an accident !
Some day I am going to buy you a great
big stick of peppermint candy — that kind
you like so well — for all your niceness to
me!' That was his favorite candy of all,"
she told me. "He was crazy over those
red-and-white striped peppermint candies."

"Still am!" Clark grinned. "And I'm
still waiting for that great big stick of it
you promised me on that wet, disagreeable
night, Betty!"

"You'll get it one of these days," she
promised with a laugh. "Even though you
have got enough now to purchase for your-
self a couple of peppermint candy fac-
tories if you wished !

"Say, Clark," she went on after a
moment. "Wasn't that funny when you
thought you were shot?"

"Funny!" he cried. "Yes, I guess it was
all of that, but it didn't seem so at the mo-
ment— it was quite a dismal time for me,
that was!" Clark wrinkled up his brow.
"Let's see," he began, "I was to stroll out
onto the stage, speak a tense line, draw a
small pistol from my hip pocket, and then
fling my arms out and shout : 'Aha, FIVE-
LEGGED COW FOUND IN IDAHO!'

"Some part, eh? Well, I got started
okay or thought I did, anyway, until I
threw back my hand and reached for my
gun — and then and there, right directly
behind me, came a report which sounded
to my poor ears just like a cannon going
off ! I gave a gasp and for one brief mo-
ment wondered — yes, seriously wondered
if I was so bad that the stage manager
had suddenly gone crazy and was trying
to murder me right before the eyes of
everyone before I could further spoil his
durned old show !

"What had really happened was this —
that darned old pistol had somehow caught
to the lining of my pocket, my hip pocket,
and the cartridge had exploded. I had
actually shot myself in the seat of the
pants ! The audience realized what had
happened before I did and they rocked
with laughter. As a dramatic player, I
was becoming quite a remarkable come-
dian, though all unconsciously !"

"Well, you slayed 'em tha'c night, Clark,
if you never did before !" laughed Betty.

"Oh, I had lots of fv in rnv stock days,"
continued the screen's Jay. "I

was there in Houst ; ;eks, I

believe it was, savi tackle
stage fame in New Yorl il; /ed, too,

in the Dakotas, Idal " g, Mon-

tana, Oregon — near «-ry* , I guess
— sometimes in ten n in opera

houses. Sometime" ; v • $2.65 per

week — sometimes as much as $40; but I
never worried mi I .an actor !

When a company won lly go 'bust,'

I'd hop a freight find myself

in some other new wh re there was

a stock compa ■■■■■ aally land a

small part.

"I recall on W :nt completely

broke up in ■ Ion in-a. And, of

course, it wc be just before

Thanksgiving ! dined on ham-

burgers and th s good as any

turkey we'd \ . ell, almost ! All

because, possi was seasoned with

for August 1933

xrw

rij Ccirltcrii.
at ~fcrtij , T) Is covered

Tltf. secret erf 4+ealtk and Ijcrutk

Despairing of ever feeling well again,
life began for Mary Carlton the night
she wrote for the "treatment of kings. "

MARY Carlton stretched out listlessly in the
canvas lawn chair. She wished that John
hadn't telephoned her to meet him at the
club. She didn't want to play golf. She didn't
want to do anything. She was tired. She
wished that John would be a little more con-
siderate about expecting her to come running
out to the club, when he knew that she
wasn't herself — hadn't been for a long time.

Mary closed her eyes. She hadn't been
sleeping well, lately. Perhaps she'd be able
to sleep a little now. She felt limp, unhappy.
She hoped her head wouldn't begin to ache.
What was the matter with her, anyway?

She heard voices ... a minute later, the
sound of three people settling down on the
other side of the box-hedge, against which
her chair had been placed.

Mary heard, "I'm sorry for her, of course.
But I'm sorrier for him and the youngsters."
The speaker was Martha Allen. Mary recog-
nized the tones, instantly.

"What is it, hypochondria or just plain
laziness?" That was Billy Reynolds.

"I don't think it's laziness. Lazy women
grow fat, but don't age ten years the way she
has in the last two." Anne Reynolds, Mary
told herself, and realized that these were her
best friends, hers and John's, and that she
was eavesdropping shamelessly.

She thought that she had better call to
them and make her presence known. She
half-opened her lips to speak, and, then, the
breath went right out of her, and she felt her-
self grow numb — sickeningly numb with
astonishment ?Td hurt. For, incredible as it
might seem, it was she, Mary Carlton, whom
they were analyzing so cruelly.

Quite distinctly, she heard Martha Allen
say, "There's John Carlton, now, coming this
way. John's such a swell person. Really, it
makes me furious when I think of the kind of
life Mary's leading him — lying about the
house like a forlorn lump — forever worrying
about her health — too tired to go anywhere
with him or to do anything he wants to do.
It's a shame when you think of the pal she
used to be."

So that was what they thought of her. Mary
could have wept with resentment and des-
pair. It was so unjust — so heartless. How
could they know what she was going
through? Why shouldn't she worry about her
health? Even if she hadn't been able to dis-
cover what was the matter, she knew that
there was something the matter. Surely John
understood that. But, did he? What if, like
their friends, he didn't?

Suddenly, she knew how she could find out
what John really thought. It would take all
her strength and nerve, but she would do it.
She forced herself to relax, to close her eyes
and compjse her features as if in a sound
sleep. Sh u heard John greet Martha and the
Reynolds, heard him ask, "Where's Mary?"

She was lying perfectly still, breathing
evenly, when they moved around the hedge

and discovered her. At John's exclamation,
she opened her eyes, startled, and managed
a yawn. She kissed John, and noticed the
relief on the faces of the others when she
greeted them, quite naturally.

"Tired, dear?" asked John, "If so, we can
go home. I'm not so keen about playing,
anyway."

John would never guess just how much
Mary wanted to go home, at that moment.
But somewhere in her she found the strength
to shake her head, to say, "Don't be silly.
I've just had a nap. I feel like playing. I feel
like winning, today."

She thought John looked at her queerly.
She smiled at him and slipped her arm
through his. "Come on, old slow-poke," she
urged, "let's get our clubs." They played
three holes. Mary was aware that John was
watching her intently all the time. She must
appear to be having a good time, she told
herself, desperately, otherwise the test would
be worthless. And then John was saying
casually, "Let's call it a day, Mary dear, I
want to go home."

"Sure?" she bluffed.

He put his arm about her, protectively.
"Sure," he said, and Mary knew that John
did understand.

But the price she paid for the knowledge
was heavy. Her whole body ached, and she
felt weak and ill. John had to help her into
the house. She felt like an invalid, when
John and the children, fussing about her
solicitously, made her lie down.

The radio was playing, but when they
offered to turn it off, she told them to leave
it on. She was glad of the distraction.

Guy Bafes Posf

Morton Downey

It was after dinner, when John had taken tne
children to the movies, that Mary Carlton
heard the program that brought about such
a miraculous change in her life. Morton
Downey was singing, and at the end of one
of his songs, Guy Bates Post began to talk
about the famous health resort, Carlsbad in
Czechoslovakia.

At first Mary listened idly, but when Post
started to tell how, for six hundred years,
people had gone to Carlsbad to find new
health by drinking the curative waters of the
celebrated Carlsbad Sprudel Spring, she
found herself listening with rapt attention.
Nature, Post explained, had put into those
waters, not one or two, but nineteen health-
restoring minerals. "Your body, to work per-
fectly," he said, "must eliminate its waste.
When it fails to eliminate regularly and thor-
oughly, things begin to go wrong. The most
frequent results are serious digestive dis-
orders— hyperacidity, chronic indigestion,
with their accompanying evils — sleepless-
ness, chronic headaches, complexion trou-
bles, and often rheumatism, neuritis and
arthritis.

"When any of these things happen to you,"
Post said, "don't make the most tragic of all
mistakes; don't rely on preparations that
only bring temporary relief. If headaches are
constantly torturing you, if sleeplessness is
destroying your peace of mind, sapping your
strength; if you can no longer enjoy your
food ... it is time to take the Carlsbad i reat-
ment, to get at the causes of your ailment
and correct them."

"He has described my trouble exactly,"
thought Mary. "But how could I ever afford
to go to Carlsbad? It's out of the question,"
she told herself gloomily. "It would cost hun-
dreds of dollars." And, then, suddenly, she
experienced the queer feeling that Post knew
what she had been thinking and was talking
directly to her, answering her very thought.
For he was saying —

"Today, you no longer have to travel all
the way to Carlsbad to take the world-
famous treatment. For science has found a
way to evaporate from the waters of Carls-
bad all of the nineteen health-restoring min-
erals in exactly the same proportion as they
occur in the waters of the Spring itself. Thus
evaporated, the minerals form a salt, and
are called Carlsbad Sprudel Salt. And with
this salt, you can actually take the Carlsbad
Treatment in your own home — enjoy its won-
derful curative benefits — at a cost of just
about three cents a day.

"And, now, friends," he ended, "I have a
special message for you from Carlsbad. You
may start on the Treatment free. If you'll
just write Carlsbad, New York City, they will
send you a supply of the health-giving min-
erals, without charge, together with the
book, 'Carlsbad Brought To You,' which ex-
plains in detail the treatment for your ail-
ment. So, write to Carlsbad, tonight."

For perhaps a half-hour, Mary went over
in her mind what Guy Bates Post had said.
She had heard of Carlsbad, the famous Spa,
but she had never dreamed that one could
take the treatment at home. It cost so little,
too. Why, it would be criminal to go on being
sick, miserable, when you could get well
again for only three cents a day.

Mary had written and posted her letter by
the time John and the children returned.

THE story of Mary Carlton is a true story.
For obvious reasons the names given here
are not the right ones. Today, Mary Carlton
is a happy woman, in splendid health, after
taking the Carlsbad Treatment. If you suffer
from any one of the following ailments —
Hyperacidity, Chronic Indigestion, Sleepless-
ness, Chronic Headaches, Complexion Trou-
bles, Colitis, Auto-intoxication, Liver Slug-
gishness, Rheumatismi, Gout, Neuritis or
Arthritis — do as Mary Carlton did; write to
Carlsbad and start on the Treatment, free.
Correct the causes of your ailment, and you'll
be well again. Get the book which explains
the Carlsbad Treatment; and also get your
free supply of Carlsbad Sprudel Salt — enough
for three days — by simply filling in the cou-
pon below, and sending it, today. Don't delay;
your health and happiness are in this coupon.
Send it, now.

Tee CARLSBAD, 9 East 40th Street, New York, N. Y.

Please send me the "Three Day Carlsbad Treatment," and the book
"Carlsbad Brought To You." I understand that both are free.

Name-

Address.

S-8

SCREENLAND

takers

MEN say of her, "Good looking. Good
company. Nice Girl. But please
excuse me."
Why?

There is just one reason. She's careless
about herself! She has never learned that
soap and water cannot protect her from
that ugly odor of underarm perspiration
which makes people avoid her.

She has nobody to blame but herself.
For it's so easy, these days, to keep the
underarms fresh, free from odor all day
long. With Mum!

It takes just half a minute to use Mum.
And you can use it any time — before
dressing or afterwards. Mum is harmless
to clothing, you know.

It's soothing to the skin, too. You can
use it right after shaving the underarms.

The daily Mum habit will prevent every
trace of underarm odor without prevent-
ing perspiration itself. Get into the habit
— it pays socially. Bristol-Myers, Inc.,
75 West St., New York.

TAKES THE ODOR OUT
OF PERSPIRATION

ON SANITARY NAPKINS. Make sure that
you can never offend in this way. Use Mum!

charity. You see, it was this way : the
show came to an abrupt end the night
before Thanksgiving Day. An old lady in
the company suddenly fell ill, so we took
up a collection among ourselves to send
her to her daughter in Detroit. When that
had been done we checked our finances
and discovered that there was just $2.40
left between the bunch of us. We had to
eat, naturally, so we went to a little hot-
dog stand and I made a deal with the boss
to feed all twelve of us for the $2.40. It
wasn't so bad as long as it lasted, only the
eats didn't last long enough ! It might
have been worse, though — suppose there had
been only 10 cents or so left between us !

"I guess most of the folks wired home
collect for money the next day. But I —
well, I did what was becoming quite a
little habit — jumped an outgoing freight
train !

"During my travels I played everything
from Romeo one night to Simon Legree
the next! In Portland, I joined a 'co-

and they served an entire Chinese dinner,
bringing their own china, chopsticks and
everything. It was the most delicious meal
I've ever eaten ! I wasn't very expert with
the chopsticks, but I'm learning."

Ann's small patio table was spread with
a softly plaided cloth in yellow and green ;
the dishes were of Laguna pottery, great
flat plates, with cups and saucers, each
one a different color, from green to henna,
blue to yellow, so that the table looked
like a crocus bed in bloom.

Ann leaned back in her rustic chair
below the Madonna and child in its wall
niche and looked at the rough walls of
her house.

"When Leslie and I were wandering
around Europe, we used to look at the
houses we saw with the idea : Would we
want one like that? Always we came
to the conclusion that we wouldn't, until
we reached the south of Spain. There we
didn't care for the city houses, but the
Andalusian farmhouses appealed to us
tremendously. We loved the irregularity
of the roof-tops, where the owners had
built on here and there during the cen-
turies the family had owned the house.
The houses seemed ideal to us, but we
never really expected to have one.

"Do you know," she raised her blue
eyes wonderingly, "two years ago . when
we landed in California again, Leslie and
I had just a hundred dollars between us?
And now here we have this !"

She waved a hand to the house, stand-
ing in its walled gardens, the pool beyond
the lawns, with its attendant dressing-
rooms, the garages with the guest-houses,
the walnut grove spreading tidy rows into
the distance.

"We couldn't get the huge adobe bricks
that they have in Spain, so we had to use
the smaller ones they make here. These
brick give character to a wall, we think,
and the shadows are so lovely."

The house is white, with a light blue
trim near the ground; the window sashes
are yellow, and the roof is a warm red.
The roof tiles are put on irregularly, to
give the correct "feel" to the house. Every
beam in the house is supported by steel
that locks into the walls. The house is
built to last, as its brother homes in South-
ern Spain have lasted. Some of the
windows are of metal frame and glass in
imitation of the ironwork used in Anda-
lusian homes.

"It's so difficult to get really good iron-
work here," mourns Ann, "that's why we
haven't the gates we want yet. We have

operative' company where everybody shared
the profits and I had visions of becoming
a wealthy gent. Said visions, however,
soon joined the big heap of other dead-
and-buried visions of mine. One week, I
did fourteen shows and got exactly $1.30
for a sum total ! The company was bound
to go onto the rocks and it did, quickly.
I then got a job in the classified adver-
tising department of the Portland Oregon-
ian. Later, I got another theatre job and
when that ended, worked as a collector
for the telephone company, thereby saving
enough to get out of town and start for
Los Angeles.

"I wouldn't trade those gone-by days
of experience for anything, even if I could
— and I always delight in wading back
through 'memory lane' with anyone who
'knew me when' — and I especially like
doing so when that person happens to be
a charming young lady like my old friend,
Betty Collier, or, to use her stage name,
Beckie Kinard, here!"

Monterey wooden gates now, but they
are temporary. One of these days we'll
find iron ones, even if we have to go
abroad for them!"

No trees were cut down to make room
for the house.

"I'd have built the house around them,
if there had been any here," Ann assured
me. "But it happened that this was a
clearing. We put in one tree, that olive
tree beside the fountain. You've noticed
our fountain? It's a copy on a small scale
of the famous one in San Fernando Mis-
sion Gardens."

There, not the distance of a somersault
from the house, is the fountain, two
children holding up a huge fish between
them.

"When we built the house and made
the patio, we carefully walled in any trees
that grew near," explained Ann. "That
was to protect them so that cars couldn't
hurt their roots or they be injured in any
way. We've planted flowers around them
now. Oh, don't you adore gardening?
Leslie and I planted every flower on the
place." Our idea of relaxation is to get
up early and work in the garden until
we're hot and tired, then jump into the
pool for a swim and eat our breakfast
outdoors.

"The other day, our delightful Chinese
served a different fruit course for break-
fast. I must tell you about it. It's called
Log Cabin Salad." •

Log Cabin Salad

Peel and cut lengthwise four bananas.
Place in orange juice for half an hour in
the icebox, then put bananas on individual
serving plates, log cabin fashion, and fill
the centers with hulled, cleaned straw-
berries, also chilled in the icebox. Serve
with French dressing, or whipped cream.

This time of year the young Fentons
live outdoors, but their farmhouse is a
unique sort of place, not large — it con-
tains five rooms only, for the guest houses
are separate and built acro=- patio.

The fireplace in the m is a

corner fireplace copied from a Spanish
one more than five hundred years old.
The furniture is all either <3fenuin antique
or excellent copies of . mc For
example, a table in thi livii on is a
beautiful Italian origir ' ■ -)0th

with age, while the h i :arved 'esk
is a copy of a Borgia poison ch-»s "he
poison chest is set next to the bui!'-in bar
which is the something >-,
isn't it?

Inside the Stars' Homes

Continued from page 7

for August 19 3 3

Radio Parade

Continued from page 57

the tracks — just at the time the radio peo-
ple reached him from New York with their
proposition.

So Al came back to Broadway to re-
main, reluctantly, while Ruby Keeler and
the jolson heir-by-adoption went back to
Hollywood. The air show featuring Al,
incidentally, was scheduled to move to
Hollywood before it did ; but that was
changed or at least postponed, when War-
ners threatened to bring Ruby on East to
appear in the Annapolis picture opposite
Dick Powell. Which goes to show you
that it isn't geography that attracts and
holds Al in any one place.

It is this department's notion that so far
as the bulk of the radio shows are con-
cerned you're better off getting it through
a loud-speaker far out of sight of the
doings themselves, than by attending a
studio exhibition. But that doesn't go for
Al Jolson. The old magic of his dynamic
presence is there in everything Al does,
and up to now, the films themselves have
only rarely captured the magnetism he puts
in every gesture. Why, even a Jolson re-
hearsal makes a good show — despite the
fact that you usually find Al looking at his
wrist watch and wondering if he can make
the third race at Belmont.

The first two Jolson shows of his present
series served to launch on the way to radio
eminence a new blues singer named Benay
Venuta — a name evolved from her given
name of Benvenuta, which is the feminine
for Benvenuto, bestowed by proud parents
as a gesture to the first famous Cellini,
because her mother's family bore that proud
name. Al Jolson is credited with having
put Benay on his first program. Be that
as it may or may not be true, he certainly
gave this statuesque blonde warbler of
torrid tunes a great boost in his announce-
ments of her numbers.

And is Miss Venuta a Jolson booster
now ! Dunt esk — it gets to be a long story
as studded with praise as a keynote speech
at a political convention. Benay is the
girl whom the Columbia publicity people
decided to broadcast literally, with a stunt
that had Miss Venuta riding the skyways
from Los Angeles, where she opened the
network with the first appearance of the
day, to Cincinnati, where she rushed to a
mike and sang a tune, then hopped to New
York to sing again on the final program
of the day. Just why the broadcasters,
who can throw a voice from here to the
ends of the earth without spending any
carfare for their artists, should have broad-
cast Miss Venuta in the flesh is something
only a publicity department can explain.

Anyway, Benay found it a thrilling ex-
perience, in anticipation, at least. You'll
be hearing" much more of this new star if
Columbia and Miss Venuta can help it.
The girl is out to go places. She has, she
says, been a victim of the itch to be in
show business since she was a mere child,
living in San Francisco with her family.
She prevailed upon her mother to move to
Los Angeles, and, determined to get on the
stage, Benay talked herself into a job in
the chorus of Grauman's Theatre — doing a
walk-on in a mob in the Grauman pro-
logue for "The Big Parade."

Later came radio, an engagement with
a San Francisco station, and when that job
blew up, Benay decided to go East. Things
didn't go so well — night club engagements
in the Middle West, but chiefly the dis-
couraging word from those who marveled
at her voice, that she was too large. Benay
is about five feet seven inches without her
French-heeled shoes on. But that was not

SCREENLAND

the main objection. So the gal did some-
thing about her poundage. Lost fifty
pounds, and here she is — a tall, trim and
very dashing person who can sing blues
the way the radio people like them- — and
on her way.

While some of the radio fledglings come
East, many of the radio stars head West
from New York, and you screen fans are
going to see a lot of your air favorites in
the pictures this fall.

Jack Benny, with his troupe, including
Frank Parker, Mary Livingstone, Don
Bestor, etc., have been in Hollywood turn-
ing out their picture at the M-G-M studios.

There's something about pictures — coulJ
it be the money they offer these stars? —
that jnakes the radio people go back on
their word that their last film is going to
be their last. Benny was pretty much dis-
couraged about the results of his film made
last Summer, but there he is back in Holly-
wood !

Fred Allen only a short time ago was
telling us that he was turning down the
movie offers because he needed a rest this
summer. Yet Fred is due for .United Ar-
tists' "Sing, Governor, Sing !" along with
Phil Baker, Paul Whiteman and his band,
Rubinoff and others of the radio realm.

Paramount's "Big Broadcast of 1935"
will bring you radio people of high names
in the halls of broadcasting, including
Amos and Andy, Ethel Merman, Jessica
Dragonette, Ray Noble and his orchestra,_ in
addition, of course, to such doublers-in-

More glamor! Here's lovely Wera
Engels, European star, now under
long-term contract to M-G-M.

brass of both microphones and cameras as
Bing Crosby, and Burns and Allen.

Nearly every company on the coast had
a radio picture on the fire, but several
dropped out from sheer exhaustion trying
to sign up more stars than the other.

Universal so far contents itself with cap-

turing the very beautiful Dorothy Page,
who has been hiding some of the fairest
features ever assembled into one face be-
hind a microphone in Chicago. Universal
also has among its promising young lead-
ing men, young Mr. John King, a singer
who was taken to the coast by Ben Bernie,
and whom Bernie helped to land a place in
pictures.

Rudy Vallee, of course, ("Sweet Music"
turned the screen corner for Rudy after
two strikes had been called on him), goes
back to Warners to star in another elab-
orate feature. Warners also have a con-
tract that calls for the services of James
Melton in one feature — options attached, of
course — but no definite plans have been set
for Melton at this writing.

Lionel Stander, one of the stooges on
the Allen shows up to the time Hecht and
MacArthur put him in "The Scoundrel,"
appears to be a fixture in the films. Frances
Langford, who went out to sing on the
Dick Powell air shows, remains in Holly-
wood for radio, with picture work prom-
ising to become even more important to
her.

There are others from radio heading
for Hollywood — Ray Heatherton, and
Everett Marshall, the latter already in the
sunny studio clime, for example. But
there are too many changes taking place
for us to go on record as promising you
that you'll see their pictures on the screen
in the near future. Too many things can
happen in Hollywood.

quite figure out how the guy was taking
it. He was giving no evidence of being-
bowled over, to be sure, but that might
be just professional wariness.

The picture came to an end, the lights
flashed on. Bill turned to his friend, who
was eyeing him more in pained reproach
than in anger. "Where's the custard pie?"
he moaned. "Where's the love interest?
Where's the water down the back?"

To cut an unhappy story short, the pic-
ture was shelved. "We were too good
friends to agree on anything," Fields ex-
plains it. "We're as good friends now, and
thank God, we don't have to agree."

Once more he took up his quest for work,
trying to crash the movies in the most
dignified possible manner and getting no-
where. He was ninety-eight miles from
Hollywood one night, dining at a Santa
Barbara hotel, when he found himself
enveloped in a small, delectable whirlwind
named Marilyn Miller. "Bill!" she
squealed. "You're just the man I've been
looking for. I'm doing a picture for War-
ner Brothers. Will you play my father?"

Bill rose and bowed his courtliest.
"Madam," he replied, trying to make the
huskiness of his voice sound like a gag,
"though you may not be aware of it, you
happen at the moment to be playing my
fairy godmother."

The picture was "Her Majesty, Love."
He got the job, but it was followed by
more gruelling weeks of inaction, of wait-
ing for phone calls that didn't come, of
hope not only deferred but dying.

His guardian angel must have favored
restaurants. In the Brown Derby one
night Al Kaufman stopped at his table. "I
evidently hadn't ordered enough food,"
says Fields, "or I looked half starved or
something, because he told me to come
down to Paramount, he thought he could
use me.

"Down there Bill Le Baron took me in

Fields in Clover

Continued from page 51

hand. I'd known him in New York, so I
took the liberty of bawling on his shoul-
der and telling him what I thought was
wrong with my movie career, to date and
inclusive. After all, I was no tenderfoot.
I'd been entertaining people for thirty
years. I knew what I could and couldn't
do. I begged him to let me have my head
and, Lord bless him, he did. So I turned
in the best performance that was in me,
and left the rest to Providence — with a
little naggin' from me on the side. Any-
way, I knew if I failed this time, I'd have
no one but Bill Fields to blame."

Bill Fields and Providence both came
through. "If I Had a Million" brought the
fan letters pouring in ; and Hollywood, so
long a wall of stone, became Fields' oyster.
He was signed to a three-picture contract
with Paramount — a contract which stipu-
lated that he should have a hand in the
writing of his own pictures. "On account
of rumors goin' the rounds," he informed
me darkly, "that they were castin' me for
the lead in 'Little Lord Fauntleroy.'

"Twittin' aside," he continued, "you've
got to fight for your own way in this game.
And if you haven't the fight in you to
fight for your own way, you're a gone
coon. Only I don't want that to sound
like a squawk, because I'm not squawkin'.
Paramount took me on when my stock
wasn't worth a plugged nickel. Bill Le
Baron's a prince. And the rest of 'em are
as kindly and reasonable a lot of guys as
you'd meet anywhere. I like 'em, I'm
grateful to them, and I feel at home here.
But the fact remains that nobody knows
you the way you know yourself — especial-
ly when you're an old warhorse like me,
who's had his hoof on the pulse of audi-
ences for years, and knows anyway what
won't make 'em laugh, even when he's not
so damn sure what will."

The telephone rang. "So they signed
me for another year," he flung over his

shoulder as he went to answer it. "And
now they're signin' me for another or a
couple or four. And that, my poppet, is
how your granddaddy met Napoleon at the
battle of Waterloo and knocked him for a
loop." He picked up the receiver and
greeted his caller with a pleasant: "Hello,
I'm goin' to kill you."

The world looks good to Bill Fields to-
day. He works hard but he works at what
he loves, and no man could ask more than
that. Once on the set, he's in his natural
element. Rehearsing a scene, he never says
the same thing twice, but ad libs at will —
a procedure generally frowned upon, but
not with Fields — for they know that his
rare instinct for the right word in the
right place will lift many a scene out of
the doldrums into high hilarity. His fellow-
workers have trained themselves to rigid
self-control, for the asides that slip end-
lessly from the corner of his mouth — ex-
cept during actual takes — are more highly
diverting than anything you'll ever hear
him utter on the screen. His energy seems
inexhaustible. Other actors rest between
scenes. Fields makes for his dressing-room
to work on the next sequence, exchanging
amicable insults with the cameraman en
route, waltzing a grip round the room,
twirling a prop in fantastic parabolas, bel-
lowing for "Roderigo," who appears like
a silent genie out of nowhere, bearing a
hat or a script or a tall cool glass. And
constantly from directors and writers and
gagmen, it's : "What do you think of this,
Bill?" and "We need a new line for that,
Bill," and "The action here seems to sag
a bit. How can we fix it up, Bill?" Bill
is the hub and the moving spirit and t^e
final court of appeal, and functions nol
in all three capacities.

Out in the San Fernando valley, I
built himself a sanctuary where, s1
death and destruction, it's practic
possible to get him on the phone. ;

for August 1935

that spot because, he insists, the sun
lingers longer there than in any other part
of the valley. "Bill's such a big shot now,"
gibe his boon companions, "that the sun
never sets at his house."

When he's not on a picture, he spends
his mornings ambling about the grounds,
armed with golf club and pruning shears,
dividing his time between roses and prac-
tice shots and pondering a scene in his next
picture. His stenographer arrives and he
dictates the results of his pondering, then
he shoos her away to go out and play
tennis with whoever may show up. The
afternoon is devoted to golf. "Then I go
home and see how many cocktails I can
drink before dinner, and the evening," he
warned me sternly, "is my own." As a
matter of fact, I happen to know that he
spends many of his evenings with nothing
more baneful than a book. No, he doesn't
curl up with it, but he does read it — for
his own good pleasure and edification.

And that, my poppets, is the story of
how Fields became God's gift to Para-
mount and Paramount's gift to you. That's
how it happens that you can sit in a dark-
ened theatre today, waiting with gleeful
expectancy for the first glimpse of his joc-
und countenance, his casual strut, for the
first airy gesture and stentorian speech.
He has only to appear, to start the snick-
ers going. He has only to lift a hand or
twitch a facial muscle to be greeted by
irrepressible chortles and guffaws. He has
only to launch upon one of his prepos-
terous and interminable pieces of business,
and the house is rocked by such a storm
of mirth that full twenty lines of dialogue
are lost somewhere in the shuffle. He's
master of suggestion and king of the belly-
laugh. It was a grand day for Paramount
and for him when Al Kaufman stopped be-
side his table at the Brown Derby that
night and offered him a job. And it was
equally a grand day for the millions who,
shortly thereafter, took up the chant "We
— want — Fields!" and have been "chant-
ing it more vociferously, more fervently,
more affectionately ever since.

Find Miss Glory

RULES OF THE CONTEST

1. Fill out coupon on Page 43, entering
opposite the feature listed the name of the
star you would select to supply that feature
to make up the Composite Girl, and enter-
ing your name and address as provided on
the blank. Then write not more than 200
words, telling why you selected the stars
named by you; in other words, simply state
why you think the nine stars you have nom-
inated should be represented in the Com-
posite Girl. Finally, you invent, or write, a
title descriptive of Dawn Glory, the name of
the Composite Girl. (More detailed infor-
mation on this final step will be found on
Page 43.) In selecting the nine screen beau-
ties to make up the Composite Girl, you are
not restricted to any particular stars. Use
your own imagination as to how you could
make a photograph of the most beautiful
girl the screen could produce by blending
in one picture the features of nine of Holly-
woods most entrancir: women.

2. This contest will close at midnight,
July 24, 1935.

3. In event s duplicate prizes will be
awarded.

4. Judges Me 'oy, famous
Warner Bros. Sheldon,
noted artist; Delii, ' Screen-
land. Judges' selections of winners will be
final.

5. Mail entries to: Man -v

test, ScREENLAND, 45 Wt

York, N. Y. »

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BRIGHT

SCREENLAND

Beau Brummell No. 1

Continued from page 15

SUMMER EYE-OPENERS

Probably your face is a picture in your
mirror at home — but how does it look on
the beach in the sun? You have only to look
at your friends to know! You can'i trust
nature unadorned! Sunlight makes eyes, es-
pecially, look pale, small and "squinched
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Beauty on the beach is simply the art of
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Liquid LASHTINT (it's waterproof ) does the
trick so convincingly! Use it more heavily
in the evening. Black — brown — or blue. $1.

Jane Heath wilt gladly give you personal advice on eye
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Kurlash Company, Rochester, N. Y ., or at The Kurtash
Company oj Canada, Toronto, 3.

and Stuart Erwin and Robert Montgomery
were whooping it up, Stu looking more
than a little disheveled, Bob with collar
and tie askew. Jimmy, despite the excite-
ment, was still an example of sartorial per-
fection. There wasn't a hair out of place,
not a wrinkle in his coat.

Jimmy's love to dress up hooks up
strongly with his career. If he hadn't
loved his two-toned buttoned shoes, his
iron hats, and his canes ; if there hadn't
been a specially tailored overcoat on which
he spent his last dime, Jimmy might not be
where he is today. He was a "dude" when
he was a young sport down New York's
West Side, and he still is.

As a matter of fact hand in hand with
Jim's development of character as man and
actor, his boyish yearnings to be perfectly
dressed at all times also has developed.

Feeling strongly that something should
be done to "expose" the tough Mr. Cagney
as a Beau Brummell, I have gone carefully
into his dress up record, both past and
present. I find that the clothes complex
started with Mr. Cagney years and years
ago. He yearned after a swanky beaver
hat belonging to his grandpappy when he
was still a stripling in rompers bouncing
on his ma's knee. Jimmy himself admitted
this to me: "I used to cry for that hat.
My mother discovered that the way to
keep me quiet when she was busy about
the house was to give me this lovely, soft
beaver topper of my grandpa's. I would
yank it down over my ears and coo and
gurgle. I have been told I couldn't have
acted more ecstatically happy than if I'd
been banging my father's gold watch to
pieces !"

The next time he attracted attention as
an example of sartorial elegance was when
he appeared resplendent upon the street
one Sunday morning attired in a checkered,
three-button coat and short pants. He was
exactly twelve years old, and the things
that the kids in the block had to say about
that outfit would make your ears ring and
your hair stand on end. However, young
Mr. Cagney continued to parade undis-
turbed in these little numbers, for the simple
reason that he "knocked the blocks off" a
couple of the gang for kidding him. He
liked those suits, and he wore 'em.

But a high-water mark in his early
career of dressing up occurred when he
was chosen for the leading role in a play
called "The Faun," presented by the Len-
nox Hill Settlement club. Mr. Cagney
was chosen for this important chore not
because he could act — he had never before
acted in his life — but because of his long
red hair which he' then wore pompadour
fashion and which apparently fitted him for
the role in the eyes of the Lennox Hill
"casting director" — I think it was the di-
rector's wife — better than any of his pals.

They curled this hair, draped a light and
airy costume about him, and told him to
act like a faun. He was a sensation. He
leaped and gyrated about the stage, toss-
ing his mane of curly red hair in such a
manner that he stole the show right away
from the leading lady who had counted on
it giving her big honors. She was pretty
mad. And Jimmy — well, he decided 'way
down in his heart, by gosh, he could act!
Although he did nothing more about it —
for a time. .

And now we come to that psychological
turning point which arrives in anybody's
life. Jimmy was a student at Columbia,
studying architecture. His father died,
and there was an imperative need for cash
in the Cagney exchequer ; so James went

Hollywood's idea — ours, too — of a
good-looking young team. Above,
James Blakeley and Ida Lupino.

to work at Wanamaker's, wrapping bundles.

Up to this time, his spare coins had come
from jerking sodas and waiting tables at
noon and on Saturday. He had managed
to buy all his clothes this way, but now a
good-sized chunk of money going home
every week gave him only a very slim
allowance for clothes.

He got so he needed an overcoat badly,
and he didn't want to buy just any old
thing. One day a friend told him about a
beautiful polo coat at the "Will Call" desk
which had never been called for by its
owner. It was to be sold for a fraction
of its original cost. Jimmy rushed over
to the department, saw the coat, and knew
he had to have it.

He sprinted all the way home and all
the way back at his luncheon hour to get
$25 out of the savings bank, which was
the coat's purchase price, about a fifth of
its original cost. It was a custom-made
job, and young Mr. Cagney was pretty well
pleased with himself.

A coat like that and wrapping bundles
at Wanamaker's?

Not long afterward, he was walking
down Broadway, dressed up fit to kill,
when somebody slapped him on the shoul-
der. It was a former Wanamaker clerk
who was now a vaudeville actor. Would
Jimmy, asked this friend gazing jealously
at the coat, like to join the act for $18 a
week ? Mr. Cagney hesitated, but not long.
He became a hoofer in a cheap vaudeville
act — Jimmy who, as a lad, had had to be
dragged to dances. And when he came
home from a road tour — well !

He was a regular symphony in brown,
a picture of young dandy elegance. He
had a brown su:t, a brown overcoat, light
brown shoes with cloth uppers, brown
socks, a brown derby, and a sensational
light brov. a tie. A newspaper pal, who
knew Km in those days, told me :

"Fe also had a funny, mincing little walk
whi« h he had acquired in the act, and when

for August 1935

he used to go down the street all dolled
up and with this funny walk, the gang-
razzed the daylights out of him. W e soon
cured him of the walk, but not of his pas-
sion for clothes. He bought a frock coat
for more formal wear, a cane, and he de-
veloped a passion for top hats."

Sometime along" in here when he was
appearing in the chorus of the show, "Pitter
Patter," he met the girl he was to make
his wife, Frances, (Billy), Vernon Willard.
Small, with a big crop of curly ringlets,
she walked right into Jimmy's heart. She
was in the chorus, too. They were mar-
ried before anybody knew what was hap-
pening, but they, very evidently, knew what
they were doing and all that was going on
when they told it to a preacher, because
they are still married.

She found out about his clothes complex
early in their married life. They had been
separated for a few weeks, Jimmy playing
in Philadelphia and she somewhere in New
York. Her show closed, and she hopped
the first rattler for Philadelphia and went
hotfooting it to his theatre prepared for an
ecstatic welcome. What he said was "Where
did you get that hat?" What she said is
not recorded — and they had only been mar-
ried a few months. But I don't believe
Mr. Cagney criticized her hats again for
some time to come.

Mr. Cagney's propensity for always hav-
ing a sharp crease in his pants proved
exceedingly embarrassing to him on the
occasion he was cast for the role of the
hoofer in a road company of "Broadway."
He appeared for rehearsal decked out in
striped trousers, a cut-away, spats, wing
collar, and looking immaculate. The di-
rector threw up his hands in horror — the
hoofer was supposed to be a shabby little
fellow. And so Jimmy pulled of his hat,
stamped on it, pressed the crease out of his
suit and in general messed himself up. But
he lost the role.

There was another time on Broadway
when with his cue, there appeared no
Jimmy on the stage. The chorus sang its
number over and over again, stalling for
time, but no Cagney. Finally a frantic
stage manager found the missing actor on
his knees in his dressing-room hunting for
a lost collar button. It would never do,
Jimmy tried to explain, as he was dragged
protesting on the stage collar-buttonless,
to go on without it !

I told you he got dressed up in at least
one scene in every picture. No matter
how hard-boiled the role, there's some oc-
casion for him to wear good clothes at
least once.

In "The Public Enemy," he was one of
the nattiest gangsters that ever shot a
machine gun. In "Smart Money" he wore
spats. In "Jimmy the Gent" he wore bad
clothes well, and if it hadn't been for that
prison, close-crop hair-cut, you wouldn't
have laughed at him as a would-be society
figure. He would have looked all right.

In "Here Comes the Navy" he had a
crack at tails. And did you notice how
well he carried off his evening togs in
"Footlight Parade"? And could you tell
how much personal enjoyment he was
getting out of "Lady Killer" when he was
supposed to wear good things. In "Devil
Dogs of the Air" his uniforms fitted per-
fectly. In "G-Men," a story of the Depart-
ment of Justice, he is quietly, but very
nicely turned out.

Which, I think, is an amazingly interest-
ing side-light on this red-headed dynamo
who is, nine out of ten times, cast as a mug.

And so the next time your bald-pated
friend preens before the mirror or your
new heart breaks out in a flaming red tie
and a checkered suit, don't be too harsh
with him. He probably loves to dress up,
and remember — the toughest guy in pic-
tures is really a dude at heart !

Say goodbye to your old, haunting
fear of "accidents." You can!

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SCREENLAND

THE APPLIED
RESEARCH SOCIETY

. . . is using this space to correct o
popular error about ASTROLOGY

Astrology is no more related to "Fortune
Telling" than is a Doctor's advice to
eat certain foods and avoid cer-
tain infections.

— Or the caution of a Beach Guard
that you should keep inside the
ropes at high water. Both tell and
caution, but do not COMPEL

Just so Astrology tells, but does not
compel; it cautions, restrains or indi-
cates action on certain Dates and

about certain things.

These favorable and unfavorable Dates
are not matters of chance, but deter-
mined by mathematical progression of
Star positions from the exact time of
your own Birth.

That the advice is good and the Dates
are accurate can easily be accepted,
because of Astrology's absolute ac-
curacy upon intimate personal matters,
known only to you.

Applied Research Society forecasts
guide the lives and guard the acts
of countless Men and Women in
Business, Banking, Education and
the Theatrical and Medical
Professions.

Read letter from Doctor S. H. J.:

"I was certainly amazed at the accuracy and deep
knowledge you have displayed in casting this
Horoscope.

I have had work of this kind done many times,
in India, Germany and the United States, and I
can truthfully say that the work done by you has
been the most accurate.

i am sending you the enclosed remittance to cast
a Horoscope for a young lady who was born on
the 17th. 10 A. M."

These Forecasts are very detailed (about
20,000 words) and cover full 12 months
from date it is sent to you.

Being based upon your Birth Date, we
must be informed where, what year,
month and date you were born.

YOUR Forecast will be sent, sealed, for
one dollar (bill or check) which will be
refunded if you are not fully satisfied
and return the Manuscript.

Or, if you simply enclose a 3c stamp
for postage on reply, the Society will
advise of certain Dates important to you.

APPLIED RESEARCH SOCIETY

83 Prospect Street • Marblehead, Mass.

Barbara Gould's home
treatment set — to help
you look your loveliest.

TO KEEP your Sum-
mer beauty intact,
wherever you are, Bar-
bara Gould has a dandy
little home treatment set
containing all the neces-
sities. It will fit snugly
into your travelling bag
if you're vacation-bound,
and be a credit to your
dressing-table if you're
not. Nice for business
girls to tuck into a desk
drawer, too. Lift the lid
of the buff-colored box,
Pandora, and you'll find
trial sizes of : cleansing
cream, a finishing cream
to start your make-up
right, tissue cream to
supply that needed lubri-
cation, a circulation cream
that does wonders for
lazy complexions, and a
mildly astringent skin
refresher to give you a
quick clean-up when you
don't want to use cream.
Oh, yes, and there are
little cotton wads just
the handy size to help
you with your beauty
treatment.

WANT to look
natural, though
made-up? Try Tangee's
new face powder. It's
made with the same color
principle as Tangee lip-
stick, which means it
takes on its shade accord-
ing to your own skin

emi-ni

ifii

Tips to the
Beauty-Wise

Tangee face powder
the color tones of

takes on
your skin.

Shampoo your hair to lustrous
beauty — with Admiracion.

Lovely legs in
answer is

tones. You might even
call it an "invisible pow-
der," because it does all
a powder's duties without admitting it's
there ! It's perfectly swell for late Sum-
mer complexions. If you've gone from
white to rosy red or deep bronze or any
one of the in-between shades with which
the sun endows us, you can be sure Tangee
powder won't let you down. You owe it
to your ideal of natural beauty to try
Tangee lipstick, too. I wager it will do
things for you. Being a good lubricant, it
keeps your lips soft and smooth at the
same time it gives them color. And it will

probably take another
Tangee user to know
you're wearing lipstick at
all!

ONE of the grandest
helps we've found for
before and after perma-
nent waves is Admiracion
soapless shampoo. It con-
tains tonic oils that dis-
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and grease from your
hair and scalp, and then
dissolve themselves com-
pletely in the rinsing
water. And how it chases
dandruff ! Chemical tests
have shown that Admira-
cion actually strengthens
the hair. We've found
out for ourselves that it
puts one's hair in excel-
lent condition to take a
good permanent and does
a lot to add to its attrac-
tiveness afterwards. You'll
love the way each sham-
poo leaves your hair de-
lightly clean, lustrous,
and easy to manage. We
do. Take our tip, though,
if you're a wife or sister.
Keep your Admiracion
under lock and key or
you'll find your men-folk
using it up ! You have a
choice — Olive Oil for dry
hair or Pine Tar for oily.

LEGS that sun your-
J selves on the beach
— legs that shine through
sheer chiffon — legs that
dance stockingless in
open-toed sandals, we're
talking to you ! Some of
the prettiest of you can,
(and others should),
thank X-Bazin for the
immaculate smoothness
that makes your owners
proud to show you off.
X-Bazin is a cream de-
pilatory that comes in a
large tube. It is easy to
apply and we're told that
even with regular use
over a long period of
time, it won't cause the
stubbly re-growth that is
the chief objection to re-
moving unwanted hair
with a razor. It's used
for arms and under-arms,
too.

A GREAT hot weather
favorite is Colonielle
indelible lipstick. It serves
a double purpose — to give
your lips a luscious colorful shine when you
want to look seductive, or a soft dull finish
when you want to look natural. The dull
finish is achieved by applying the lipstick,
and then patting your lips with tissue.
Presto ! The shine disappears, but the indel-
ible color remains to stay with you through
whatever the day may hold, even a dip in
the ocean. Colonielle lipstick comes in four
flattering shades — medium, vivid, cerise and
cherry red. The case is a stunning silver
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six letters
X-Bazin.

-the

for August 1935

Telling What's Ahead
for the Stars

Continued from page 13

"Mae West, on the other hand, is the
home-maker type of woman, and I predict
a marriage within two years. At present
there is surrounding her fate star some
mysterious conditions, but these will clear
up and she will lead a happy married life.
Her star is the home star in spite of her
type of acting. I predicted her career in
pictures while we were on the New York
stage. At that time Mae thought of it
only as a pretty picture from a dream.

"Jean Harlow, whose beauty has drawn
a path of tragic events, will never find
permanent happiness in marriage. Her
stars are marked, and though she will con-
tinue to shine forth from the screen in all
her platinum loveliness for some time to
come, there will lie beneath this glory a
tragic life. Her marriage to William
Powell," says Norvell, "would mean dis-
aster. But she is destined to marry some-
one nearer her own age, and to be happy
for a while. She must take whatever joy
she can from passing ecstasy."

Ann Harding will not retire from the
screen for three years despite her avowals,
Norvell says. She will marry again and
be very happy.

Jimmy Cagney will retire in three years
and go into another profession, probably
medicine. "He would make a fine doc-
tor," Norvell says, "with his splendid and
sensitive intelligence.

"Of all the younger players, Ann Soth-
ern is slated to go farthest.

"Tom Brown and Anita Louise, Holly-
wood's most charming couple, will never
marry, because their destinies lie apart
in the stars. But they will have brilliant
careers, especially the lovely Anita, who is
destined to reach great heights, being born
under the same sign as Ruth Chatterton."

"Of all the male players on the screen,
John Beal, who recently made such a
great success in 'The Little Minister' and
'Laddie,' has, according to the planets, the
greatest possibilities for future stardom.
He was born under the same ruling star
that created such sensational players as
Norma Shearer, Myrna Loy, and Bill
Powell. John Beal is the type who appeals
mostly to the maternal instinct in women.
He is the tender, sensitive, poetic type, a
dreamer who will make his dreams come
true." When he first came to pictures to
play opposite Helen Hayes in "Another
Language," Norvell predicted that he would
return to the stage, and then come back
to pictures to become a greater success
than ever.

Among the newer players on the screen,
whose stars show progression and con-
tinued success, are Joe Morrison and Fred
MacMurray, Norvell says.

Loretta Young, despite her publicity,
does not yearn for the patter of baby feet.
She is a careerist, and will always sacrifice
love for work. She, too, will reach great
stardom. But no rose-covered cottage in
the suburbs for Loretta. Sorry !

"Owing to the fact that Gary Cooper
and Sandra Shaw are living in two sepa-
rate worlds — he, in the rather Bohemian,
unconventional atmosphere of pictures, and
she in the more circumspect atmosphere
of social life — they can never really come
together on anything, and it will be diffi-
cult to make a success of their marriage.
She will also resent his independence and
terrific success, always having been her-
self the center of the limelight," according
to Norvell.

"The responsibilities of the home and the

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SCRE ENLAND

recent additions to Bing Crosby's family
would in themselves serve as a balance-
wheel to the vagabond attitude Bing has
always had toward life. This should check
his impulsive nature, but unless he is very
careful, within the next two years he and
Dixie are apt to disagree and nearly come
to the parting of the ways. But they are
born in signs which are sympathetic to each
other, and there should be a certain degree
of understanding between them. A sense
of loyalty and duty would restrain Bing
Crosby from making any drastic changes
in his matrimonial life, especially if we con-
sider Dixie Lee's sacrifices in the past for
Bing. Crosby is born under the sign of
Taurus. This is an earth sign, and in-
clines people of that time to carelessness
in physical details. Bing must be espe-
cially careful of this if he wishes to safe-
guard his future on the screen," Norvell
explains.

Shirley Temple is an Aries child. This
is the happiest star for Hollywood, being
the ruler of such players as Pickford,
Crawford, Chaplin, and Swanson.

"The most beloved child in the world
will continue on a very fortunate path all
her life. Her beauty will increase as she
grows up, and never leave her. Her health,
with proper care, will always be excellent.
Shirley's many talents can be fully devel-
oped, if she wishes, especially her musical
ability.

"Although little Miss Temple may leave
the screen as she grows older for appear-
ances on the stage, she will return when
she is a young lady in the manner of Madge
Evans, and once again win great acclaim."

The only thing that interfered with
Grace Moore's success in her early pic-
tures, Norvell states, was the fact that her
star was not on the ascendant at that time.
During the past two years, she has been
under the most prosperous aspects of Jupi-
ter, the money planet. She will continue
being successful, not only in pictures, but
on the operatic stage and radio.

One of the most notable successes in the
near future, according to Norvell, will be
Elisabeth Bergner, who was such a success
in "Catherine the Great." "Although she
is concentrating on stage work, she will
accept a movie contract sometime next
year, and her rise to stardom will be so
rapid that her future success will equal that
of Greta Garbo. Her planets give her
somewhat the same appeal as that which
has made of Garbo an outstanding star and
personality."

Norvell thinks pictures are ready for
something distinctive and different in the

Spencer Tracy goes tender — as
what he-man wouldn't? — in this
scene with pretty Claire Trevor.

line of entertainment. They will become,
he says, more daring in subject matter dur-
ing the next year, and will venture outside
the limited, conventional themes that have
made of pictures a routined entertainment.

I asked Mr. Norvell if it were possible
for anyone to outwit his destiny as re-
vealed by the stars.

"Well," he answered, "some people fly
in the face of their stars and seem to
achieve success. Take John Barrymore.
He was never meant to be a married man,
yet his marriage to Dolores was happy for
both of them, for a long time. Now, how-
ever, their stars seem to be actively de-
stroying their happiness. John and Dolores
were born under signs that really should
not be together. They could have made a
success of their marriage, except that John
comes under the temperamental sign of
Uranus which rules Aquarius, and this
causes him to lack tolerance. It makes
him desire freedom, and he wants to tear
loose from the home ties. He resents the
responsibility of children, and of routine
matrimony. There will be no reconcilia-
tion between them, but another marriage
faces Barrymore in the future — and another
marriage for Dolores.

Norma Shearer's commendable efforts on
behalf of furthering her career should
prove an inspiration to all women who
wonder if they can mix marriage and a

career. "Norma Shearer was born under
the sign of Leo, ruler of Hollywood. The
powerful Sun, center of all creation, gives
her the dynamic energy and determina-
tion, which have carried her to the presen*
glorious position in the film firmament. In
the near future she will have to make a
choice between marriage and a career."
Norvell is inclined to think that she will
choose marriage. She will undoubtedly
confine herself to but a few pictures in the
future, but she will realize the wisdom of
devoting more time to her home and less
to a screen career that has already show-
ered upon her the richest awards possible
of attainment.

"Marion Davies' recent move to Warner
Brothers studio, from an astrological view-
point, is a very wise one, and will bring her
added success in the future. Under the
confusing and fiery vibrations of the former
studio, her temperament could no longer
flourish. In her new environment, Marion
Davies should reach new heights in her
career, and finally come into her complete
heritage as an actress and comedienne.

"Janet Gaynor has reached a crucial
period in her career, owing to the fact that
her ruling planet, Venus, has been going
through a very bad affliction for some time.
She is definitely limited to a certain type of
role, and should continue in romantic teams
such as the one that skyrocketed her to
fame with Charles Farrell. She is not,
however, finished in pictures, but will be
forced to develop a more distinctive per-
sonalty and emotion to continue longer in
public favor."

Of the younger married set in pictures,
according to the stars as interpreted by
Norvell, the union of Frances Dee and Joel
McCrea should be successful, especially if
Frances eventually subjugates her career
to the home.

"Joel McCrea is the type of man who
does not like to be dominated. As Frances
Dee becomes more of a wife, Joel McCrea
will become more of an actor, and will sur-
prise even those people who admire him
greatly now."

Norvell is extremely handsome, and the
girls here in Hollywood like him. And
does Norvell like the girls? Well, he had
a luncheon date with one of the extra girls
one day, and a messenger came from Greta
Garbo, saying that the Great One would
give an hour of her invaluable time to read
her stars. It is hard to believe, I know,
and many will scoff at the mention of it,
but it's true — Norvell kept his appointment
with the extra girl !

The Insi

troupe were on a boat bound for Cuba.

"On board ship, I looked around for
somebody interesting to play..with," Powell
remembers. "I suppose Barthelmess did
the same. We found nobody to suit our
tastes, so we commenced walking the deck
alone. I suddenly rounded a corner and
bumped into a raccoon coat. I looked
again, and saw it was Dick. We both
grunted, mumbled an embarrassed word or
two — and then started our walk together.
Around and around that promenade we
walked. We must have gone around a
dozen times before either of us spoke.

"Without warning, Dick blurted, 'You
drink?' I answered, 'I do.' Whereupon
we went into his stateroom — and we re-
mained there for most of the trip. We
found that we had many things in common
to talk about. More important, our voices
harmonized in song — at least to our own

e Career Story of Willia

Continued from page 23

satisfaction. We became pals." This
friendship still exists, after thirteen years.

"Under the Red Robe" was Powell's
next important cinematic step. This was
the one and only silent picture in which
John Charles Thomas, the noted baritone,
appeared. It stands out in Bill's memory
because Powell was the victim of an auto-
mobile crash, en route to work one evening,
that nearly cost the star his life. He was
knocked unconscious in the accident. He
-was riding to work, when he saw his car
was about to crash. He ducked his head,
but:

"The next thing I knew, I was aware
of a terrific pain about the vicinity of my
nose. I tried to raise my hand to investi-
gate, and discovered that I couldn't move
my hands. Bit by bit, I recovered con-
sciousness, opened my eyes, and looked
around. I was in a hospital. Doctors and

Powell

nurses were working over me. I had gone
through the windshield of the car. My
nose was broken until it practically hung
on my face. My upper lip was cut entire-
ly through ; my teeth could be seen through
the gap. My head was a mass of cuts
and gashes.

"A plastic surgeon managed to sew me
back together. How he did it, I'll never
know, because I was in horrible shape. I
still have scars — one here, and this one,
(Bill pointed them out), and this mark on
my chin. I occupied a cot in that hospital
for weeks. You'll know what kind of a
crash it was when I tell you that the
wrecked car, a brand-new Packard, was
sold for only fifteen dollars."

"Romola," featuring Lillian and Dorothy
Gish, followed "Under the Red Robe." It
was during this picture that Powell formed
another friendship that has existed through

for August 1955

the years — a friendship with Ronald Col-
man. Today, Powell, Colman, Barthelmess,
and Warner Baxter are a quartet of the
warmest pals in Hollywood.

During the production of "Romola,"
Powell staged a trick that almost made a
nervous wreck out of director Henry King
for days. A scene called for an actor
named Charles Lane to thrust Powell under
water, and hold him there. Powell tipped
Lane to release him while he was under
the surface, so he could swim to some
nearby weeds. Lane, meanwhile, was to
keep up the pretense of holding Bill below
the surface.

Action began, Lane ducked Powell into
the water, and the scene and trickery pro-
ceeded. The scene finished, and director
King shouted for Lane to release Powell.
But Lane put on a great act, ground his
teeth, and apparently struggled to hold
Bill below the surface. King grew more
and more excited. He shouted that
"Powell's been under there five minutes."
Meanwhile, Bill again swam under water
to Lane's feet, and the latter actor pulled
him up. Whereupon Powell waded ashore
as if nothing had happened. For months
after that, director King told people that
Powell remained under water for five min-
utes, which he believed was a world's
record.

"Too Many Kisses" and "Dangerous
Money" followed in rapid succession.
These, like his other pictures, were pro-
duced in New York, or on location out of
New York.

Then Powell went to Hollywood, where
he made two pictures for an independent
company. Hollywood amazed him, because
his first two pictures there were made in
eight and nine days respectively, while
those he made in New York required weeks
to make. "Romola" was in production for

thirty-nine weeks and four days.

"Aloma of the South Seas" and "The
Runaway" were marked by no important
episodes, but immediately following them,
Powell signed his first motion picture con-
tract with Paramount. That led to his first
Western picture, "Desert Gold."

"I was supposed to ride a horse," Powell
recalls, "but all I knew about horses was a
little English saddle riding I picked up
for a previous picture. We went on loca-
tion to a Western town near Hollywood,
and the first day of work, I was not called
until noon. Meanwhile, the remainder of
the company had already departed for the
scene of activity. So at noon I swung my-
self aboard a horse that had been assigned
to me. Luckily the horse knew the way,
along a narrow mountain trail down which
he half walked, half slid. But we got to
our destination, and I worked all afternoon
astride the horse. Imagine how I felt after
a few hours of that ! At sundown, we all
turned homeward. Then somebody must
have mentioned oats, because my horse sud-
denly lit out. Faster and faster he ran.
My feet flew out of the stirrups, I was
hanging on to my make-up case with one
hand and trying to draw the reins with
the other. Then a bandana which I had
tied around my neck flew up and covered
my eyes. What a cowboy I must have
looked !• I don't know how I kept my seat,
but I did. By working the muscles of my
face, I at last uncovered one eye. I saw
a canyon that apparently ended in sheer
wall, and I managed to turn the horse into
this impasse. He reached the wall, and
reared up on his hind legs. That's where
I got off.

"In our mad race, we had pushed re-
lentlessly through cactus patches, and my
legs were filled with stickers. Several
cowboys of the troupe caught up with us

in the little canyon, and they crudely with-
drew as many of the cactus burrs as possi-
ble. But not until we returned to town,
where a nurse spent an hour pulling those
stickers with a pair of pincers, did I get
any actual relief. That nurse must have
pulled eight million cactus points out of my
legs !"

Despite this experience, Bill remained a
Western heavy for some time, although he
was occasionally permitted to enact das-
tardly villains in other pictures. Several
unimportant pictures led to — "Beau Geste."

"Beau Geste" reunited Ronald Colman
and Powell for the first time since they
had made "Romola" together. The com-
pany of actors and workers, several hun-
dred strong, went to the Arizona desert on
location. Camp was established and oper-
ated just like an army camp.

"The one difference from an army camp
was that the food concession had been sold
to an outsider," Powell says. "It proved
to be a losing proposition, and food became
worse and worse. There were other bad
conditions, such as insects, flies, and malaria
— but the food was worse. It got so bad
that Ronnie and several other principals
of the cast and I, after hard days of work
— and I never worked harder in my life
than on that picture — would leave camp and
go thirty-two miles to Yuma, Arizona, for
dinner, and then ride thirty-two miles back
again. Mind you, that was no pleasant
automobile drive of thirty-two miles. We
had to ride three miles on horseback, climb
to a plateau on foot, and then ride three
miles over a rudely constructed board road
before we reached a highway, which itself
was none too good.

"There were some pretty strange prank-
sters on that location, too. It seemed to
be a general idea that it was funny to
drop scorpions, side-winders, (small, desert

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into tents and even beds."

Several actors were "made" by "Beau
Geste." It was the greatest picture of its
era, and because of his fine work, Powell
was regarded with more respect by his
studio. Therefore, when he suddenly de-
cided that he would like to "humanize"
his villains on the screen by giving them
a sense of humor, his employers agreed
with his idea.

Thus it came about that Powell, cast to
play a heavy in "She's a Sheik," with
Bebe Daniels, turned several scenes into
riotous comedy — and gave evidence that he
was one of the most capable comedians on
the screen. Here's how that came about :

"Having decided to make audiences
laugh at my villain, as well as sneer at
him, I found myself cast in the role of an
Arabian sheik in 'She's a Sheik,' " Powell
recalls. "I scoured my brain for ideas, and
abruptly one came. All my life I had won-
dered what sheiks wore under those baggy
robes that are the habitual garb. Now it
occurred to me that if I was curious, so
might other people be. So I turned my
rapier duel with Bebe into a comedy. She
first caught hold of the sash that all
sheiks wear. She pulled it, and that caused
me to spin around and around. Dizzy,
after the twirling, I staggered, and half
fell. At which Bebe slashed at me with
her sword, slit my costume, and then
caught the torn pieces on the point of
her sword and lifted them over my head.
And there I was, an Arabian sheik de-
nuded of his outer glory, and clad under-
neath in the weirdest things my mind
could imagine. It was ridiculous, of course,
but audiences howled. You see, people like
to see a villain defeated or made ridicu-
lous."

So successful was Bill's plan to "hu-
manize his villains" that he practically de-
feated his own purpose. His villains, hu-
manized, were such vivid picture stealers
that many stars protested against them.
Several stars refused to allow Powell to
appear in their pictures, if he planned to
continue his "humanizing" process.

More or less in self-defense, as well as
because he had proven himself a capable
actor, Paramount seized upon Powell and
lifted him out of heavy roles. They turned
him into a hero, in a series of Philo Vance
detective stories. "The Canary Murder
Case," "The Greene Murder Case," "The
Benson Murder Case," and others soon es-
tablished Powell as a definite star. It also
brought him hundreds of letters from
people all over the world, asking his ad-
vice, as a detective. Powell began to read
detective stories, and he learned much from
real detectives employed as technical as-
sistants on the set. He even went so far
as to employ a secretary to answer his fan
mail, and, when feasible, to give advice
as coming from a detective.

Powell worked in the first all-talking
picture, "Interference." He played the
heavy, the same role that was played on
the English stage by Herbert Marshall.
As the stage play made Marshall, so did
the screen play establish Powell immedi-
ately as a "voice actor."

"Interference" was originally scheduled
to be half talkie, half silent. The first half
was the silent half. But when the picture
had been completed and previewed, the pro-
ducers decided it should be all talkie.
Meanwhile, Louise Brooks, a member of
the cast, had gone to Europe. So Mar-
garet Livingston was employed to "dub"
her voice in the first half. When it was
necessary for Miss Brooks to appear in
a scene Miss Livingston did that, too, but
always with her back to the camera. Their
voices were practically the same ; few spec-
tators caught the difference.

"Street of Chance" was Powell's next

important picture. It was one of two that
Powell regards as his best performances,
(the other is "The Thin Man"). Bill and
some friends were vacationing at Lake
Arrowhead, when he received the script
for "Street of Chance" by special delivery.
He read it, and then joined the other mem-
bers of his party. "Here is the perfect
script," he cried.

The picture turned out to be one of
Powell's biggest money-makers. It also
marked the inauguration of "rehearsals"
for talking pictures. The director, John
Cromwell, was from the New York stage,
and he shared with Powell the belief that
the entire company should rehearse at least
a week before a picture went into produc-
tion. Since then, the practice has become
common.

A series of sound pictures followed, and
as sound grew more popular, so did

Charlie Ruggles goes to the dogs
for solace in this very touching
scene from "No More Ladies."

Powell, with his distinctive voice backed
by years of stage training, grow in popu-
larity. "The Four Feathers," "Pointed
Heels," "Shadow of the Law," and "For
the Defense" were among Bill's outstand-
ing pictures. To name all of his pictures
would prove tiresome, because year after
year, Powell worked in from ten to fifteen
productions. Few actors have worked as
long and consistently as he.

After "For the Defense," Powell's stock
skyrocketed. About this time, Warner
Brothers studio made its historic raid on
Paramount, taking away Powell, Ruth
Chatterton, and Kay Francis.

For Warner Brothers, Powell starred
in several pictures, and co-starred in
others. "The Road to Singapore" was his
first, and that was followed by "High
Pressure," "The Jewel Robbery," and a
picture that he regards as one of his finest
romantic vehicles, "One Way Passage,"
in which he co-starred with Kay Francis.
This was followed by "Lawyer Man" —
and that marked the finish of his good
Warner pictures. The others that fol-
lowed, he says, were not so good. They
were "Private Detective 62," "The Kennel
Murder Case," "Fashion Follies of 1934"
and "The Key."

The last-named picture completed his
contract, and for the first time since 1923,
Powell found himself a free-lance. As such,
he went to Metro-Goldwyn-Mayer for two
pictures, "Manhattan Melodrama," with
Clark Gable and Myrna Loy, and "Thin
Man," with Myrna Loy. The rest is
recent history. Powell has topped his
previous popularity. He has one of the most

for August 1935

lucrative contracts in Hollywood. He has
never been happier than now, he says.

He has also added some new pictures
to his long list of screen achievements.
They are "Evelyn Prentice," "Reckless,"
"Star of Midnight," (for which he was
loaned to RKO Studios), and his most
recent production, "Masquerade."

"The thing that I miss most nowadays
is the fun that we used to have during
the filming of silent pictures," Powell says.
"Now the business of making movies is
deadly serious. No more visiting from set
to set. No more joking and kidding be-
tween scenes.

"People think actors have easy lives, but
let me explain why this business of act-
ing for motion pictures is so gruelling on
the nerves. Every time an actor steps in
front of a camera, it is like a fast runner
kneeling on the starting line for a hundred-
yard dash. Runner and actor are on
nervous edge. The starting signal sounds,
and they're off. To the actor, his work is
like that runner's dash. He starts at top
speed, and he tries to win by giving his
best. He finishes the scene, and he is ex-
ultant. He has won ! Then the director
says, 'Let's shoot it again, and get that
dialogue out a little faster.' Well, that is
just like calling the runner of the hundred-
yard dash back and saying, 'You'll have to
run again. One of the other runners slipped

in starting.' So down kneels the runner
to do his best again. In front of the
camera steps the actor to do his best. The
signal, the race, the finish. Again exult-
ance — until from the sound booth comes a
voice, 'N. G. Sound of feet shuffling. Do
it again.'

"Well, this keeps up all day, not one
time or five, but a hundred times. Yes,
easily fifty times a day does an actor step
before a camera, with nerves keyed up,
to start a scene. Each time takes just so
much toll of his nervous system. When
that goes on for day after day, it leaves
an actor in a condition bordering on nerv-
ous collapse.

"If an actor had a chance to rest at
night, he might be able to recuperate
from the nervous strain. But at night he
must study his script and memorize his
dialogue for next day. At best, memoriz-
ing is uphill work. It is laborious. It is
with me, at any rate. Time and again, I've
been on such nervous tension that for days
I've been unable to hold food on my
stomach. But those things the outside
world seldom hears about."

Thus concludes the screen biography to
date of William Powell, who was movie-
born a villain, but reformed about mid-
career to become a gentleman, a humorist,
and one of motion picture's cleverest char-
acter heroes.

Sewing Circle for Hollywood Wives

Continued from page 25

friends. I was one of the original members,
including Bebe Daniels, Pauline Gallagher,
Arline Judge, Carmen Pantages Considine
and Mrs. Frank Capra. At that time, Bebe
and Pauline were expecting 'young hope-
fuls' and so without realizing we were
starting anything in particular we got in
the habit of getting together every Tues-
day for lunch, bridge, and knitting. At
first, the idea was to keep the membership
very small — no more than two tables of
bridge — but the first thing you know we
found we were all plugging for the admis-
sion of various 'good scouts.' Every host-
ess was allowed to invite two guests to
each meeting ; and from there, like Topsy,
we 'just growed' !

"In a way, our Sewing Circle is just like
any other Sewing Circle in any other town.
You can see what went on this afternoon :
shop talk, husband talk, dress talk, baby
talk. But it wouldn't be a really first-class
Hollywood organization if we didn't do
things just a little differently.

"For instance, we've held our meetings
in some of the darndest places. Last sum-
mer when it was Bebe Daniels' turn to
play hostess she routed us all out of bed
at six in the morning, chartered a boat,
and took us on a fishing trip. That zvas a
meeting ! We came back looking like the
Club of the Peeled Onions from that jaunt.
Rhea Gable and Christine Cortez made the
biggest 'catches' — and I hear there was
quite an argument later between Clark and
Ric as to which oective wife came home
with the lar^ >ws !

"Anoth - uline Gallagher played

hostess i th -hop she and Bebe

own in Westwoo< ieve me, we didn't

do much sewin« 'dge-playing that

afternoon ! i ->ntire day trying

on zippy littli and when a cash

customer woi le shop down-

stairs Arline i or I would

model the cloth : There were

a couple of tot i whose yes almost
popped out of i eir x\ei ■ ren Bebe

played saleslady and insisted on showing
the good women her 'waltzing models.'
That was the cue for one of us to waltz
into the shop in some smart model, parade
before the ladies — and waltz right out
again. Heaven knows what they thought !
Probably that we had lost our minds and
our contracts at the same time.

"On another occasion we held forth in
the town's smartest speakeasy — or what
would be a speakeasy back in the prohibi-
tion days. I suppose it is just a smart
night club now. We're probably the only
Sewing Club in the world that ever held
forth in broad daylight in a smart midnight
rendezvous. It was a great day for taking
down the newest cocktail recipes and the
latest snacks in hors d'oeuvres. The chef
was summoned in right after lunch and
the girls proceeded to pump him for hours
on the subject of new ideas for party
menus.

"We're far more competitive about food
in the club than we are about what we
wear. Someone or anyone can show up
in the latest Hattie Carnegie model and
even the gals in slacks won't bat an eye-
lash. But we do turn green with envy
when someone steals a march and has some
delicious new dish for luncheon. The only
other important thing is to keep it non-
fattening. This isn't the easiest culinary
idea in the world, either.

"So far I don't believe we are looked
upon as an official organization. That is,
we haven't been called upon to 'throw our
weight' or 'put the stamp of our approval'
upon any movement. What charity we
do is strictly on our own. We just dis-
cover a worthy case and pitch in and do
something about it. Somehow I hope we
stay that way, without benefit of presi-
dents or politics. It's twice as much fun !"

It is that ! I know — I was lucky enough
to be invited to the newest thing under the
Hollywood sun, the local Sewing Club
Chapter in meeting assembled and going
full force !

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Here's Hollywood!

Continued from page 56

\X7TLL ROGERS has a de-
VV lightful sense of modesty.
It came to light in full force one
recent day when he was seen
loading a sack of maple sugar in
the back of his car.

"What you got, Mistuh Rog-
ahs?" asked Stepin Fetchit. Will
grinned and replied, "Just a sack
of sugar. My fan in Vermont
sent it to me!"

CAN IT BE LOVE DEPT :
Before you can say Richard Barth-
elmess, or at least before this item is in
print, Nancy Carroll will likely be Mrs.
Paul Van Avery Smith, (he's a wealthy
business man). They're planning a quiet
marriage, and even now are said to be
furnishing the home in which they'll live
after their "I do's" have been said.

Claudette Colbert is being seen more and
more often with her doctor-friend, but still
denies plans to divorce Norman Foster for
the present. Meanwhile, Norman has been
doing all right with Sally Blane.

Betty Furness continues to be one of the
most-often-rumored-in-love lassies in town.
Cary Grant, Gordon Westcott, Arthur
Lake, Sherman Rogers, and a few others
are seen here and there in her company.
Prince Mdivani, (of the marrying Mdi-
vanis), is rushing Pepi Lederer, Marion
Davies' niece.

And lookie, lookie, lookie, here come
Ann Sothern and Roger Pryor ! Just when
the ashes of their romance looked colder
than Connie Bennett's stare, too. The
Anita Louise-Tom Brown romance, too,
after a brief pause, is proceeding calmly.
Ditto that Mary Carlisle-James Blakeley
thing, which cooled temporarily when _ it
looked as it he might reach first base with
Barbara Hutton— but he struck out in-
stead.

Charles" "Buddy" Rogers has taken up
Mary Pickford's religion (Christian
Science), and it looks more serious than
ever. A few fans are said to have written
Buddy and Mary to protest against their
marriage, (because she is the older of the
two), but the majority have scoffed at what
they term this "old-fashioned idea." The/
have said to the pair, "If you're in love, go
ahead. It's your life and your happiness at
stake."

VERY funny, Evelyn Venable's reason
for being a vegetarian. "I like vege-
tables," she wrote to a friend. "I also like
my meals first hand. I don't need to eat
the cow that first ate the vegetables. No,
thanks; I eat the vegetables, and not the

SOME new friendships worthy
of attention have sprung up
in Hollywood. Carole Lombard
and Gloria Swanson have become
tennis pals. They play almost
daily with Alice Marble, one of
the country's finest racquet wield-
ers. Incidentally, they play on
William Powell's court.

Another unexpected friendship
is that between Anna Sten and
Marlene Dietrich, often reported
enemies. They're together at
least a few times every week.
This friendship began when they
attended the Russian Easter serv-
ices.

TV/TARY BRIAN is the first screen
lVA actress, insofar as the records would
indicate, who has suffered an attack of
"writer's cramp." That affliction, you may
already know, is caused by gripping a pen
or pencil too long between one's fingers. It
is a common ailment among authors.

Mary suffered her attack during her per-
sonal appearance tour. She has only her-
self to blame, because she advertised on
stage and radio that she would sign auto-
graphs for all who wanted them — and thou-
sands did.

A mid-West physician finally put a ban
on autographs, because, he told her, she
might permanently paralyze the muscles of
her writing hand.

BETTY FURNESS delights in telling
friends about her latest "visit to New
York." Granted a vacation, Betty boarded
a plane late one afternoon. The follow-
ing morning, she arrived in New York.
That night she received a telephone call to
rush back to Hollywood for a picture. The
next morning she boarded a plane en route
to the West Coast.

"The trip East Was rough, so I was too
ill to eat dinner in New York," Betty says.
"I didn't eat breakfast next day, because
I don't like to eat before I fly. So I didn't
even eat a meal in , the East."

AT THIS writing, Shirley Tem-
pie's parents are in a stew.
The reason: Some fans in Aus-
tralia have written to tell Shirley
they are sending her a kangaroo.

When fans sent little Miss
Temple a calf, her parents solved
that problem by boarding the
bovine with a dairy. But no
dairy farm will undertake to
raise a kangaroo, and Mrs. Tem-
ple is afraid that if she gives it
to a zoo, the Australian donors
will be angry. Will somebody
with a kangaroo in their past
kindly send the Temple family a
few words of advice?

When charming Virginia Bruce
"tank she go ho ne" from the studio,
she steps into her coupe and goes.

for August 1935

Hollywood Figure

Continued from page 53

taking your swing from right to left. This
exercise is particularly good for the waist.
Exercise #2 :

Kneel on right knee, left knee bent and
left foot set firmly on the floor. With left
hand folded on top of closed right fist,
stretch arms out and up to left; pull back
hands to right side and then stretch them
upward as high as you can go. Do this
rhythmically, as a lumberjack does his
sawing. It will probably help you if you
can do it to music, good four -four time.
Reverse and kneel on left knee, taking your
swing from upper right to lower left.

This exercise helps reduce hips and
builds up shoulders and chest.

Exercise #3 :

Stand erect with left foot one step for-
ward, right foot set at right angles to left
one, (with toe pointed to side). Your right
leg is held straight and your left knee
slightly bent, as if you were about to fence.
Clasp your hands together, as you have
done in previous exercises, and stretch
them upward toward the left. Pull them
down now with a swing toward the floor
to the right, as a lumberjack pulls his
saw. As you come back with the swing,
your left leg will be straight and your right
knee bent. Reverse and step forward with
right foot, left toe pointing at right angles.
This is excellent for reducing the abdomen.

Exercise #4 :

Stand with feet well apart, fists together
as before. This time pretend you have
an axe in your hand. Do you know how
to chop wood? Well, act as if you were
chopping up some firewood for the camp.
Bring the axe up high over the right
shoulder and then hit your log low ; then
bring the axe up over the left shoulder
and hit the log again. Then swing from
farther to the right, then from farther to
the left. Make your chopping a circle.
You'll feel a pull in the back muscles.

This will keep the back straight and
limber and take away those disfiguring
humps so many girls develop at the back
of the neck.

I can't take all you girls who write to
me or who read these articles off to a
lumber camp and set you to work. If I
could I'll bet I'd turn out a fine looking
band of girls at the end of six weeks ! But
if you'll keep faithfully at this routine, you
can do a great deal for yourself. You
never saw a lumberjack who hadn't a slim
waist and trim hips. It's these points that
seem to bother most of you, so here's first
aid.

Remember to start in with only three
or four swings for each exercise. Don't
rush it. Make your swings slow and delib-
erate, as a lumberjack swings his rhythmic
axe and saw.

You can't hurt yourself at this routine,
so don't be afraid of that. If you can take
exercise at all, you can take these, if you
do them properly.

I know that a majority of you — if I can
judge from your letters and the statistics
gathered by health authorities — are under-
weight rather than overweight. That is
because Americans are a nervous race and
tend to overtax their strength. There are
more "skinnies" than "fatties" in our pop-
ulation. We get things done, but we use up
too much energy doing it. This is true of
the stars just as it is true of the rest of
you.

Carole Lombard, who is now nearest to
the ideal average, was for a time much
too thin. She went in for milk as her most
easily digested food, and for massage to
help her relax. Relaxing, I must repeat
for the fifteenth time, is the greatest aid

<H J

She Spent all Day
on the Beach!

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villain, named Sunburn, had caused
her much trouble. If she had called
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happy scene at the bottom of the film
would have been entirely omitted.

To avoid the torments
of sunburn, apply Mentholatum liber-
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the pain and smarting. Its medicinal
ingredients also promote rapid healing.

[or

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SCREENLAND

*Why a corn hurts

A corn is shaped like a
cone, with the small end
pointing into the toe. This
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1 That is why a corn ruins
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How to stop the pain

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of slowly undermining the corn.

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exion

to attain and maintain a perfect figure.

Claudette Colbert, when she was chosen
for the role of "Cleopatra," was told by
DeMille that she must add ten pounds to
her weight. She did it. How?

With milk, ice-cream, and regular rest
periods. While she was working, Claudette
refused all invitations ; during her lunch-
eon hour, she took her meal in her dress-
ing-room, where she could lie down before
and afterwards ; and every minute that
she was not actually needed on the set, she
taught herself to rest and relax. Milk, you
know, is relaxing, especially if you take it
just before you rest. Claudette formed
the habit of eating vanilla ice-cream once
a day at least while she was gaining
weight, and still keeps it up. You need
not confine yourself to vanilla ice-cream.
Any flavor will do.

The chief thing responsible for Clau-
dette's steady gain was that she trained
herself to relax.

You can do this, too. If you have very
little time to rest, try the "spread eagle"
method. Lie down flat, without a pillow,
arms and feet spread out, head tipped back,
eyes closed. Without moving a muscle or
a nerve count up to 500.

When Miriam Hopkins was working at
Paramount Studios, she insisted on having
a dressing-room on the set. Every minute
she wasn't in an actual scene she went to
this set dressing-room and rested on her
day-bed. Whenever she was extra-weary,
she called for someone to massage her
feet. This was done as you probably saw
Claudette having it done in "Imitation of
Life."

Hollywood has one advantage over other
places. Here, if you tell your hostess you
can't come to her party, or you must leave
early, "because I have to work," she in-
stantly excuses you. There is no "just this
once," or "but I've planned to have you"
about it. Work is the most important thing
in town. Try to train your neighborhood
to understand this, too.

If you want to build up a vigorous,
healthy body, you must remember _ that
worry can defeat you, if you give in to
_t. "I can't stop worrying" is all non-
sense. You can if you'll try. Your mind
will hold only one idea at a time. Make up
your mind that while you are resting the
idea shall be a ' constructive one, a peace-
ful, restful one, not a destructive, terrify-
ing thought.

Take a deep breath and say to your-
self: "I can control myself" or "I am the
master of my fate" if you like that better.
Deep breathing will definitely help you to
control your nerves. Abdominal breath-
ing— which expands the lower lungs — is
the kind for you.

Bring your problems of over-
weight or under-weight, diet, and
exercise to James Davies. He has
helped many noted screen stars to
keep fit and lovely, and he is here
to help you, too. Don't expect an
answer by mail, because Mr. Davies
is too busy to conduct a corre-
spondence; but he will be glad to
answer representative questions
in Screenland. Address James
Davies, Screenland Magazine, 45
West 45th St., New York, N. Y.

James Davies' Answers to Questions

Arlene of S. C:

You are only about 4 lbs. over-weight,
and from the measurements you give me,
evidently all of that excess poundage lies
in the hips — these should be reduced 5 or
6 inches. Do the hip-roll faithfully every
day half a dozen times, (in case you have
forgotten how — Lie flat on the floor, arms
crossed on chest, roll three times to the

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for August 1935

right and three times to the left). The fol-
lowing is also an excellent exercise : Clasp
your hands back of your head and rotate
the body forward and downward from
right to left and from left to right.
Miss MacD., Edinburgh, Scotland:

Your hip measurement is 5 inches too
much. Try exercises above and in this
article.

B. F. B., Dallas, Texas:

What you really need is to build your-
self up all over. Try taking hot milk or
ovaltine between meals and before going
to bed. Follow the "lumberjack routine"
in this issue of Screenland. For thin
wrists and arms, try this : Close fists, tense
arms, and do complete circular movement
of wrists. For thin calves : Put a book on
the floor, hands on hips. Place toes on
book, heels on floor. Balance up and
down a dozen times.

C. S. Wehvyn Garden, Herts, England:
Try cupping massage for reducing legs.

Here is good exercise : Stand with right
foot in front of left, toe of left foot behind
heel of right. Raise right leg, knee stiff,

until foot is about 18 inches from floor.
Give high jump upward, and at same time
bring left leg up and beat it against calf of
right. In landing bend knees and ankles
so that you come down softly. Repeat
with right leg.

Mrs. M. M., Buffalo, N. Y. :

If you have heart trouble, by no means
do any exercise unless your physician rec-
ommends it.

B. L. M., Lowell '■, Mass.:

You are slightly under-weight and can
afford to do body-building exercises. For
bust-development try the rod exercise.
Stand with feet well apart, holding the
rod in both hands well toward the
ends. Bend forward, swinging rod down.
Straighten and swing rod up above head.
Swing arms backward lowering rod be-
hind you. Raise right arm, lower left,
raise left, lower right. Bring rod back
above head and swing down to first posi-
tion. Repeat.
A. M. C, Texas:

Try above exercise for bust development.
Try hip reducing exercises in this issue.

Page Miss Glory

Continued from page 45

off to and it had been more fun being
Loretta, going to the movies when her
day's work was over, than being Dawn
Glory adored by the world and yet shut
away from it.

It happened so quickly that when it was
over it was almost like something she had
dreamed, looking up and seeing Bingo

Frances Drake shows how easy it
is to be smart, in this tailored
sun-" '.: suit \>f beige doeskin.

standing there just inside the door. In-
voluntarily her hand flew to her heart as
though she could quiet that quick beat, her
eyes for all their happiness stung with sud-
den tears and that queer choke in her throat
so she could not speak.

There was no need of words. The room
was full of that silent thing that lay be-
tween them, that made Bingo blush and
stammer like any school boy, that brought
the ready scowl to Click's face.

Bingo had never been one for poetry,
but now her name on his lips became a
litany ; and Click, stung to action at the
danger of losing his gold mine, beckoned
to Gladys and she took the girl's arm and
drew her into the bedroom.

Bingo came out of his dream then.

"I want to see her," he protested. "She's
my sweetheart, isn't she?"

"I tell you," Click's mouth clamped down
over the words. "Dawn Glory can't have
a sweetheart. She's the whole nation's
sweetheart."

Somehow he managed to force the boy
from the suite and then, his mouth grim,
he went to Loretta.

"Now, listen ! You're Dawn Glory. No
one can make a date with you. You're a
goddess."

"You mean I can't have any fun?" Lor-
etta wailed.

"You're going to have everything most
girls dream about and never get," Click
tried to be patient. "Silks, satins, furs,
jewels — that's fun. Isn't it?"

"B-but w-what about Mr. N-nelson?"
She listened disconsolately as Click grandly
threw a few cars and yachts into the grand
total of her assets and then echoed for-
lornly, "Gosh, if I can't get to see Mr.
Nelson I had more fun when I was a
chambermaid !"

"But you're famous, Dawn, famous!"
Click threw out his hands in exasperation.
"You've got to be protected. The world's
at your feet. Say," his voice became almost
gentle as her ready tears fell again, "how
would you like to take a little auto ride
with Ed?"

"With Ed?" Loretta' wailed. Then she
brightened. "Well, I guess he's better than
nothing," she sighed.

If anyone had ever told Gladys she would
ever be jealous of the frumpy little cham-
bermaid who had driven them all crazy j

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with her solicitude she would have laughed
derisively. And yet she was jealous, hor-
ribly, sickeningly jealous. She had always
taken Ed so much for granted when there
was no competition, but now the minutes
dragged into an eternity.

"Five o'clock ! And they're not back yet."
She flung an exasperated look at the im-
passive Click.

"Now, Gladys," Click consoled. "Sup-
pose we had a gold mine that was making
us all rich. We'd take awful good care of
it, wouldn't we? You know we can't take
a chance on the reporters catching her alone.
She'd spill everything."

"What about Bingo Nelson?" Gladys re-
fused to be placated. "He's anxious for
the job."

"Bingo Nelson !" Click stared at her as
if he had suddenly encountered a new
variety of moron. "He'd marry her the
minute he got her alone. Then goodbye
to our meal ticket. Who ever heard of a
married goddess? Two weeks after the
event she wouldn't be worth a lead quarter
to us. I wish I could get him shanghied !"

He had spoken idly, but as soon as they
were said the words took on reality. Why
not? It would save them the continual
watch on the girl and Bingo was as elusive
as an eel slipping in and out of the suite
trying to see her.

"Nelson will be here in half an hour,"
he told the two underworld characters he
sent for. He laughed as he took Gladys'
arm. It was the first relaxed moment he
had known since Dawn Glory first made
newspaper headlines.

Gladys tapped her foot impatiently as
Click telephoned Bingo that he could see
Dawn if he came right over. Her thoughts
were still somewhere in the park with Ed
and Loretta in a car together. Suddenly
she had an idea.

"Wait for me just a minute," she gasped
to Click and was gone.

"Say, do you want a tip from me?" she
demanded of the would-be kidnappers.
"Take the girl instead of Nelson. I'll
make it worth your while. I'll double the
ante."

It would take every cent of her part of
the Dawn Glory racket loot, all the money
she had been planning on trousseau things
and cute gadgets for an apartment. But
it was worth it. Every cent of it, and she
was smiling when he rejoined Click in the
lobby.

The drive in the park hadn't been much
fun after all. For a little while Loretta
had tried to make-believe Ed was Bingo,
and Ed had tried to make-believe Loretta
was Gladys ; but make-believe isn't much
fun when the air is soft with spring and
the cherry trees made a bridal arbor in
the park.

When they came home at last Ed
couldn't wait to find Gladys and the pre-
| cious Miss Glory seemed safe enough with
the doors of the suite locked, so with a
last warning that she be good and stay
where she was, Ed was gone.

Music drifted in through the open win-
dow from the roof garden above. Some-
how it was easier to make-believe alone
than it had been with Ed ; easier somehow
to imagine Bingo's voice and his smile and
his eyes. And then suddenly there was
no more make-believe, for there was the
sound of a key turning in the lock and
when she turned around Bingo was com-
ing into the room.

"I've been waiting to see you so long,"
Tie was close to her now, bewilderingly
close, and she could hardly speak for the
rapture closing around her.

"So've I — been waiting to see you."

There was so much to say in that first
moment, so much each of them had longed
for, had dreamed about.

"The only time I ever felt like this was
when I did 247 loops without a stop,"

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Henry Armetta, who gives us so many laughs in pictures, gives acting tips
to Dorothy Page, newcomer from radio, who is soon to make her film debut.

Bingo protested fervently as his arms went
around her. "Over East St. Louis."

"I'll bet that was a funny feeling, too,"
Loretta sighed blissfully. Then she felt
his lips on hers and for a moment there
was only that breathless silence closing
around them, enveloping them in a lover's
world of their own.

"Hey, Bingo !" They drew guiltily
apart as Ed's voice crashed through their
happiness. "You ought to be ashamed
sneaking in like this when our backs were
turned."

"What' re you talking about?" Bingo de-
manded in outraged innocence. "Click
sent me up here himself."

"And we're engaged to be married,"
Loretta flung out triumphantly.

"Look here!" Ed begged frantically.
"You can't do anything like this."

But Loretta had had enough. "I can't?"
she stormed. "I will! I'm sick and tired
of being kept a prisoner here just so some-
one won't find out I'm not really Dawn
Glory!"

She struggled as Ed clapped a silencing
hand over her mouth, but somehow she
managed to get away from him and fling
out triumphantly, "My name is Loretta
Dalrymple and I want Bingo to know it.

"I used to work here," she turned to
Bingo, her eyes entreating him to under-
stand. "I was only a chambermaid until
Click put me on being Dawn Glory. Do
you mind? It doesn't make any difference,
does it?"

It didn't make any difference. Nothing
could make any difference with her eyes
shining like that, her mouth pleading. And
it was only the quick knock on the door
that prevented Bingo from taking her in
his arms again.

"Trunk was ordered here." The man in
the oversized porter's uniform wheeled it
into the room before Ed could protest.
With one hand he slammed the door behind
him. With the other he covered them with
a gun.

"Keep your yaps shut or it will be just
too bad!" h? ordered. "Now, Miss Glory,
get into the trunk!"

Before anyone of them really realized
what was happening he pushed Loretta into
the trunk and closed the lid.

"Take off your pants," he muttered
tersely to the others, and with a gun wait-
ing for an opportunity to bark out at them
Bingo and Ed did what they were told.

In another hour newsboys w 'C shouting
extras at every corner, r.v' i fhe

news of the kidnapping, and Dawn Glory's
name ran in high gear across illuminated
news ribbons. Dawn's name was on every-
body's lips, and the whole world was
thrilling to the excitement of the kidnap-
ping.

But it was of Loretta Bingo was thinking.
Loretta — somehow it made her even dearer
knowing she wasn't the glamorous Miss
Glory after all, but just a girl from a small
town. He had come from a small town,
too. It made the whole fantastic thing seem
true for the first time.

He must find her. In the excitement he
had forgotten he was still wearing the
dainty fur trimmed pajamas he had found
in her closet as he swung out on the fire-
escape outside her window. Below him
police cars were swinging along in the
mad search and crowds stood gaping up
at the hotel.

And then almost when he had given up
all hope he saw her in the empty suite a few
stories below. Loretta saw him peering
in at the window and turned coyly to her
captor.

"I — I must have left my handkerchief in
the trunk." She looked helplessly at the
man playing solitaire and with a gesture
almost courtly he got up.

"Allow me !" he said gallantly as he
opened the lid and bent over the trunk.

It was all over in a moment, Bingo mak-
ing that one cat-like spring into the room
and pushing the obliging kidnapper into
the trunk. They had to hurry, but first
there was that sudden, shaken kiss, in which
Dawn Glory was submerged once and for
all into a girl in love.

The moon came shyly over the trees in
the park as the Giant Nemo Yeast adver-
tising plane soared over the Park Regis.

"Bingo Nelson speaking," blared the loud
speaker. "I've got Dawn Glory and she's
going to be my wife."

And then Dawn's voice. "I'm not going
to be a symbol any longer ! I'm just going
to be a bride with a loving husband and a
loving home and some loving kiddies."

Consternation reigned in Click's suite.
With a whoop the reporters who had
camped on his doorstep since Dawn Glory's
birth rushed out to broadcast the news to
their papers.

Close, close to the stars and the moon
flew the plane, and Bingo pulled Loretta
closer and it was as if he had pulled the
stars and all heaven with her when he took
her in his arms.

The End

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Several shades below Mae West's pre-
vious best, but not lacking in laughs
created by the typical Westian wise-cracks
with rough edges. Mae appears as a dance-
hall girl who inherits the fortune of a rich
miner and then proceeds to crash society,
which leads to melodrama when her social
enemies try to "frame" her with Ivan
Lebedeff. Paul Cavanaugh is the wealthy
and titled Englishman Mae captivates.

A rather unpleasant subject, dealing with
psychiatry, that is very well handled. A
story of mental ills, it is somewhat depress-
ing, but with Ann Harding as the psy-
chiatrist, and Herbert Marshall and Mau-
reen O'Sullivan in prominent roles, the
picture naturally is one that will hold your
interest. Miss Harding is excellent; and
Maureen, as a suicidal neurotic, does bril-
liant work. At least it's quite different.

Fine acting talent severely handicapped
by a trite "society drama" about a Little
Miss Nobody who catches a society man
on the rebound and fights to hold him
when his ex-flame tries to win him back.
Bette Davis makes the story capture and
hold interest as the girl of the title. But
Ian Hunter, new English star, and Colin
Clive — the latter as the husband — are too
heavily burdened to succeed. Pretty good.

Age of
Indes-
cretion
M-S-M

In a top-notch cast, including Paul Lukas,
Madge Evans, Helen Vinson, May Robson
and Ralph Forbes, little David Jack Holt
comes out best. It's a routine, but very
well done, story about a publisher whose
wife deserts him and later tries to obtain
custody of their little son — an effort in
which she fails when the boy declares for
his father, who is then free to marry his
secretary. Appealing because of the players.

TAGGING
the TALKIES

Delight Evans' Reviews
on Pages 46-47

If the cycle of enemies-to-public-enemies
films is on, it's because such films as this
are turned out. A very punchy melo-
drama showing how the Government trains
its agents for war on crime, and also how
criminals ply their cunning and craft.
Richard Aden as a Government man, and
Bruce Cabot, as the criminal, are the tops
in a very fine cast, which includes Virginia
Bruce and Alice Brady. Excitement here.

Still another murder mystery, but this
time with a novel background — Uncle
Sam's battleships. Robert Taylor and
Jean Parker provide the romance, with
Taylor also running down the insane in-
ventor, Jean Hersholt, who is about to
blow up the ship's powder magazine.
Thrilling situation, this. Ted Healy and
Nat Pendleton inject many good laughs,
with Una Merkel helping the humor along.

If you're in the mood for wild and woolly
comedy, by all means see this dizzy offering
from Wheeler and Woolsey. It's one of
the best this team has turned out. A plot
of sorts concerns a murder mystery, but it
never gets important enough to interfere
with the comedy. Betty Grable, Fred
Keating, Evelyn Brent, Hale Hamilton and
Arthur Aylesworth make a fine support-
ing cast. A couple of catchy tunes help.

SCREENLAND

Sally Eilers walks away with this nice
little story of a waitress lifted to society
and wealth — and the reactions she experi-
ences in her new world. As you'll find
out anyway, the heroine poses as the long-
lost daughter of a wealthy couple, whose
lives are made happy by the harmless de-
ception. Ray Milland is charming as the
chap who falls in love with Sally. Henry
O'Neill and Katherine Alexander are good.

George Raft, playing a tight-lipped and
hard-boiled hero with a heart of gold, re-
gains his own niche in the hall of screen
fame in this murder story in which sus-
picion points to a politician. Raft solves
the murder. Edward Arnold as the politi-
cal boss does a fine job and Guinn Williams
as the killer turns in a surprisingly strik-
ing performance. You are going to like
Raft in this, his best in a long, long time.

The story of a professional gambler try-
ing to save his son from the clutches of a
vamp-like young charmer. It is both un-
usual and interesting. Edmund Lowe is
the gambler, and Tom Brown the son, with
Claire Trevor and Adrienne Ames in the
important feminine roles. Lowe gives a
swell performance, his best in some time.
Miss Trevor as the feminine heavy is also
in fine form. A mystery angle adds zest.

An excellent cast ? 1 lift

this out of the usua1 ■ it' .gli the

story, about a doc bus life to

curing paralytic - hardly a

strong number. ly turns in

one of his fir ;s as "The

Healer," while Judith Allen,

J. Farrell M iickey Rooney

are all exc Key at his best.

A forest necessary thrill.

fS6 TK&WW ft'

"DO I USE LUX?" says Alice Faye. "I insist on it!
One of the first things I tell a new maid is that
she must never, never use anything but Lux for my
stockings or sweaters or any of my personal things.

"If a thing is washable at all, Mabel Luxes it.
She says then there's no 'luck' about it. Things keep
their 'brand-new' look so much longer. "

Never are Alice Faye's lovely things rubbed
with cake soap, or subjected to ordinary soaps
with harmful alkali. These things might easily
ruin delicate threads or fade colors. Lux has no
harmful alkali!

There's no end to the applause your precious
summer frocks will get if they're cared for this
way. Just test a bit of the material in clear
water first — if it's safe in water, a whisk through
Lux completely recaptures its crisp perfection.

You'll be wise to follow this care for stockings,
too. Lux is especially made to save elasticity.
Then threads give instead of breaking into runs
so easily. Stockings fit better — wear longer!

Specified in all big Hollywood studios

"All the washable costumes in the Fox studio are
Luxed because Lux is so safe," says wardrobe super-
visor Royer. "It protects colors and materials, keeps
costumes new longer! It works such magic that I'd
have to have it if it cost five times as much!"

DON'T TRUST TO LUCK-TRUST

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Smart Screen Magazine

CREENLAND

' «*N fit . "

SHIRLEY TEMPLE. Invites You to Enter Her Contest!

beginning a Great -f^e^^vel of Hollywood Life and Love

by Thyra^injter WinslowV

WOULDN'T YOU THINK SHE'D KNOW BETTER?

Yet home again by
11 o'clock...

...and all
because she
forgot that final
fastidious touch
which makes a
woman winsome

Use LISTERINE before
social engagements to
check halitosis [bi?eath]

Lambert Pharmacal Co., St.Louis, Mor

Screenland for September 19 3)

PR! N CESS CHARM \ N G <-™ — » >

Pink Tooth Brush —

Makes her avoid all close-ups
. . . dingy teeth and tender gums
destroy her charm.

A WOMAN smiles — and her face
glows with a touch of splendor.
{Dazzling white teeth set in firm, healthy
gums help create that lovely moment. )

Another woman smiles, and her
charm vanishes before your eyes.

{Dingy teeth and tender gums halt your
attention with an unpleasant jolt .)

"PINK TOOTH BRUSH" IS A WARNING
The explanation of "pink tooth brush"
is remarkably simple. It's because almost
no one nowadays eats the coarse, fibrous
foods so stimulating to the gums. Our

modern, soft-food diet allows them to
grow tender through sheer inaction.
And that's why the warning tinge of
"pink" appears so often — why modern
dental science urges Ipana and massage.

Dental science says you must massage
the gums as well as brush the teeth. So
rub a little Ipana on your gums when you
brush your teeth. Ipana, massaged into
the gums, helps restore healthy firmness.

Change to Ipana and massage. For,
with healthy gums, you have little to
fear from the really serious gum troubles

I PANA

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SEP 2«

©C1B 276099

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative

Surprise Feature!

Next Month— the
Interview the World's
Been Waiting For

This IS a surprise! Indeed, it's such a
surprise, that we are terribly tempted
to carry Screenland's extraordinary
News Beat to the very ultimate, the
peak, the top in other words, of its
surprising capacity to surprise you.

Thus succumbing to temptation,
we're asking you not to demand that
we divulge at this time the name of
the subject of The Interview the
World's Been Waiting For. Instead
we are asking that you exercise some
of the very flattering loyalty you
readers of Screenland have exhibited
time and time again, and accept our
word for it that the next issue of your
favorite magazine will bring you a word
picture, a penetrating portrait, so de-
lightfully written, and above all so
thoroughly authentic, that you will feel
you have enjoyed a personal tete-a-
tete, a handshake, a smile, a confiden-
tial revelation of the innermost thoughts
and feelings of a star whose personal
side the whole world, in the absence
of a story like this one, has had merely
to guess at and conjecture about.

The issue containing this Surprise
Feature will be on sale August 23.
WATCH FOR IT!

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

September, 1935

Vol. XXXI. No. 5

EVERY STORY A FEATURE!

The Editor's Page ^ Delight Evans 1 1

It's Not Always Their "Dear" Public Dorothy Manners 12

Papa is Head Man. Charles Boyer Leonard Hall 14

Shirley Temple Contest 16

Best Hollywood Parties Elizabeth Wilson 18

Diary of a DeMille Crusader James B. Fisher 20

Do You Bite Your Nails? Winifred Aydelotte 22

A Star is Made. Fiction Thyra Samter Winslow 24

The Baby Menaces Margaret Angus 26

Stepping the Astaire Way to Film Fame Ida Zeitlin 28

There's No Girl We'd Rather Sock Mary Sharon 30

Joan Joins the Rebels. Joan Bennett Tom Kennedy 34

Reviews of the Best Pictures Delight Evans 52

Screenland Glamor School. Edited by Fay Wray 54

"Diamond" in the Rough. Edward Arnold Maude Cheatham 57

SPECIAL ART SECTION:

Team Work! Fredric March and Merle Oberon. Tamed! Margaret
Sullavan. Tres Chic Colbert. Yesterday and Today. Ann Harding,
Gary Cooper, Loretta Young, Charles Boyer. The Two Bills! Will Rogers,
W. C. Fields. Frances Dee and Joel McCrea. Play's the Thing in Holly-
wood. The Call of the Sea! Warren William. Ruby Keeler Joins the
Navy! Very Clever, These Englishmen. The Most Beautiful Still of the
Month.

DEPARTMENTS:

Honor Page 6

Inside the Stars' Homes. Virginia Bruce Betty Boone 8

Beauty in Garbo's Eyes. Beauty Elin Neil 51

Hollywood Figure James Davies 56

Here's Hollywood. Screen News Weston East 58

Radio Parade Tom Kennedy 62

Tagging the Talkies. Short Reviews 63

Salutes and Snubs. Letters from Readers 64

Femi-Nifties 88

Screenland's Crossword Puzzle 92

Ask Me Miss Vee Dee 98

Cover Portrait of Shirley Temple by Charles Sheldon

Published monthly by Screenland Magazine, Inc. Executive and Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President ; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Adv. Representative, Loyd B.
Chappell, 511 S. Alexandria Ave., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention
but Scregnland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada;
foreign $2.50. Changes of address must reach us six weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class
matter November 30, 1923, at the Post Office at New York, N. Y., under the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1935.

Member Audit Bureau of Circulations.

Printed in the U. S. A.

for September 19 3 3

^^^omeo and Juliet ! . . .Antony and Cleopatra! . . .Tristan
and Isolde!. ..Dante and Beatrice!... Heloise and Abelard!
. . . Lovers all — out of the scores upon scores of" lovers
who down through the ages have fired the imagination
and the creative artistry of bards and minstrels, poets
and playwrights, painters and writers.

Without end are the enduring love stories of the world
—those transcendental, inspiring romances that reach into
the hearts, souls and minds of people — to lift humans out
of themselves for one brief, thrilling instant in the scheme
of things and make them kin to the gods in Paradise!

king its place alongside the immortal love romances of
all time is the touching, tenderly beautiful story of Peter
andMaryinDuMaurier s glorious tale, "Peter Ibbetson."
Here was a love truly beyond all human
understanding — a love that endured through
childhood, manhood and old age — a love
that flamed with a brilliant intensity — a love
that burned even beyond the grave.

Gary Cooper and Ann Harding in a scene from the Paramount
Picture "Peter Ibbetson" directed by Henry Hathaway

As a novel, "Peter Ibbetson" left an indelible imprint on
all who read it. As a stage play, and then again as an
opera, idealized with music, it entranced those fortunate
enough to have witnessed its performance. Now it is being
brought to the screen by Paramount, with a devotion to
casting and direction that promises to further deify, if pos-
sible, what is already recognized as an immortal work.

ary Cooper has been chosen to portray the sincerity and
manly manliness of Peter Ibbetson, while Ann Harding
has won the coveted role of Mary, who was the Duchess
of Towers. The screen play has been placed under the
lucid and understanding direction of Henry Hathaway,
who guided the destinies of "Lives of a Bengal Lancer,"

As a living, breathing canvas that recreates the glamor-
ous scenes and the passionate interludes of
Du Maurier's story, the photoplay "Peter
Ibbetson" gives every promise of presenting
another screen masterpiece in this story
of a love that will last through all eternity.

SCREENLAND

the St

ars

omes

Virginia Bruce is not only a beautiful blonde, but a
beautiful hostess! Visit her Toiuca Lake home with us

By Betty Boone

(now Mrs. Merian Cooper) — very seldom all at the
same time because we are all so busy.

"Giving a bridge tea in Hollywood is different from
one that you'd give anywhere else, because picture girls
are nearly always on a diet or else they are afraid to eat
at all for fear they'll put on an extra pound, so provid-
ing food isn't easy. No matter how tempting it looks,
you're pretty sure your guests will only sigh and say :
'Oh dear, take that away, you wretch — don't you know
I weigh a ton already ?' "

Virginia pirouetted across the blue broadloom carpet
of her white-walled living room and turned on her new
radio-phonograph.

"Look, I just got this! It will play for two hours,

changing its own records, isn't
that marvelous? I have all of
Bing's records. Mother doesn't
like his singing but I do — it
does something to you ! But

The smile of wel-
come from Virginia
warms the visitor's
heart at the start!
She is wearing her
favorite hostess
gown of white satin
to receive you.

Virginia supervises
every detail of her
guests' entertain-
ment and refresh-
ment. Right, below,
she is giving that
last - minute glance
to a tempting table.

IRGINIA BRUCE lives in To-
Lake, around the corner

luca

from Bing Crosby, in a shining
white "early American" house,
with a white picket fence before it. Old-
fashioned flowers make her garden gay
and a walnut tree casts a spreading shade.

Virginia on the screen is pretty enough to stop
traffic, but Virginia off the screen is almost too
beautiful ! In a peach-colored satin hostess gown
with pale blue sandals she is so lovely that you

wonder how her girl-friends bear it.

'I don't go in very much for

entertaining

we were talking about bridge
teas . . .

"It's hard on Bee, my cook,
to have to fix things for girls
on diets, so we try to have
some people who don't belong
to pictures. Bee is simply
sweet. We love her to death.
She's been with me for a year,
but before she came to me she
was with a Southern family
for twenty-five years and they
felt the same way. When they
lost their money and had to
let her go — which was my good
luck — they could hardly bear
it. They call her up every day
now just to hear her voice.
She's the real thing.

"Naturally, being a real
old Southern cook, she loves

a single

home," confided the blonde angel. "I'm
girl again, and as such I'm invited to all my
friends' parties. If I were married, I'd give
dinners in return ; but as it is, I usually take the
girls to lunch at the Vendome, or invite the cur-
rent boy-friend to dinner here. So a bridge tea,
very occasionally, is about my speed at present!

"Even these aren't very elaborate. We use
Mother's new inlaid card table, the pride of her
heart. We bought it for her last birthday. She
wouldn't tell us what she wanted so we took her
to our best shop and told her she had half an
hour to choose something. She chose this." Vir-
ginia exhibited the table, gaily.

"The girls who come are Dolores Del Rio, Mrs.
Gary Cooper, Betty Furness, Margaret DeMille,
(now Mrs. B. P. Fineman), and Dorothy Jordan,

for September 1933

to fix appetizing food. I don't know a
thing about cooking but if Bee makes any-
thing it's ten times better than the things
other cooks make. She has the most mar-
velous recipe for chocolate brownies ! We
sometimes serve them for tea."

Chocolate Brownies

2 cups sugar
2 eggs unbeaten
1 cup flour

1 cup melted butter

2 squares melted chocolate
1 cup walnuts

Vanilla

Bake in a slow oven for 30 minutes.
Cut in squares like fudge.

"If you don't have to consider diets, you
can serve a special dainty, like heavenly
hash or peach syllabub or wild rose mousse
— don't you adore the names? Otherwise
it's best to stick to tiny fancy sandwiches
and little cakes."

She stood against the white brick fire-
place, a sylphlike figure. Above her a
water-color sketch of her baby Susan
looked down at her ; across the room on
the antiqued white piano a large framed
picture of Jack Gilbert, the baby's father,
had a prominent place.

"Bee's sweet — -she won't mind if you have
her recipes."

Bee didn't — and here they are :

Heavenly Hash
Mix iy2 cups peeled and diced oranges,
\l/2 cups diced bananas, Yi cup sugar, \y2
cups diced marshmallows, y2 cup shredded
cocoanut and Yt. cup chopped red cherries.
Set in ice box for an hour and serve in
glass dishes lined with split lady fingers.

Peach Syllabub
Mix 2 cups canned diced peaches with y2
cup sugar and 2 tablespoons grated orange
rind ; add stiffly beaten whites 3 eggs and
beat well ; fold in 1 y2 cups whipped cream,
fill six tall glasses with the mixture,
sprinkle with grated cocoanut, garnish with
a whole cherry and set in icebox for an
hour.

Wild Rose Mousse
Mix 2 cups pineapple juice, Y\ cup lemon
juice and Yi cup sugar. Color a delicate
pink. Half fill refrigerator trays with
this mixture. Beat until stiff 1^2 cups
heavy cream, add 1 teaspoon vanilla,
sweeten to taste with powdered sugar and
pour over the juice and freeze. Chopped
walnuts can be added if desired.

"Bee makes the prettiest checkerboard
sandwiches. Get her to tell you how she
makes them," Virginia urged me, as she

{Continued on page 95)

Virginia Bruce and Bee, her cook,
watch the progress of a special
baked dainty.

DOES YOUR Aow WIN HIM

IN A

Watch your "close-ups "/ OILY, stringy hair, or DRY,
lusterless wisps, are no "beau-catchers" 7 Use a shampoo
made for YOUR OWN TYPE of hair to guard its beauty

Special shampoo for
DRY HAIR

If permanents, harsh shampoos, out-
door swimming, or summer's sun have
left your hair too dry, begin now to
give yourself Packer's Olive Oil sham-
poos. Packer's Olive Oil Shampoo is
made especially for dry hair. In addi-
tion to nourishing olive oil, it contains
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hair until it shines like silk.

Packer has specialized in the care of
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Shampoos are absolutely safe.

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Individual shampoo for
OILY HAIR

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flood your hair with oil.

Tighten them up! Wash your hair
frequently with Packer's tonic Pine
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fluffs and gleams!

SHAMPOOS

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TAR

for OILY hair

SCREENLAND

Chicago beauty says of Listerine Tooth Paste:

"I like the sheen and lustre it gives my teeth"

JV-Lodfe/s are careful about what products
they use. They have to be; on their good looks
their livelihood depends. Once they approve a
product, particularly a tooth paste, you may
be sure it is first rate.

Like so many other professional beauties,
Miss Catherine Weary, former Chicago society
girl, is enthusiastic over Listerine Tooth Paste.

"A real beauty aid," says Miss Weary, "and
so refreshing to the mouth. I like the quick,
thorough way it attacks discolorations and
cleans teeth. I like the wonderful sheen and
lustre it seems to give my teeth. It is such a
comfort, too, to know that it cannot injure

delicate enamei."

If you have not tried Listerine Tooth Paste,
do so now. More than three million people
have discovered the advantages of this modern
dentifrice. In two sizes: Regular large, 25^.
Double size, 40^. Lambert Pharmacal Co.,
St. Louis, Missouri.

LARGE SIZE 25^ DOUBLE SIZE 40^

TO USERS OF TOOTH POWDER
Your druggist lias a new, quick-cleansing, gentle-acting,
entirely soapless tooth powder worthy of the Listerine name.

LISTERINE TOOTH POWDER • 2H oz. 25(£

for September 1933

This lovely blonde is hereby assured of
a hearty welcome when she returns to
Hollywood.

An Open Letter

to Madeleine Cairo

DEAR MISS CARROLL:
Come back — all is for-
given. I've just seen
your latest picture, "The 39
Steps," with Robert Donat, and
I wish you'd take one more
step, this time in the right direc-
tion of Hollywood. Not that
you went home mad before —
not you. You were the perfect
picture of lovely blonde British
poise when I said goodbye to
you in New York about a year
ago on your way back "home"
to England. You raved about
Hollywood and the climate and
the studios and Marion Davies'
hospitality and newspaper and
magazine writers — in fact, you
were so delighted with us all
and so charming about it, I
would have suspected you of
putting on an "act" if you
hadn't been such a sweetly
sincere person. You added: "About time I'm leav-
ing, too. All that fuss they make over one out
there — and that holiday spirit — I need discipline!"

Like all the English you had personal framed pho-
tographs standing about even though you were on
the wing between train and ship. One of your hus-
band, the impressive Captain Philip Astley. Another
of yourself, in Court costume, complete with plumes.
Oh, yes, you'd been "presented." And you'd met your
husband at a party to which you had been escorted
by one of the British Princes. But wild horses
wouldn't drag any details from you. And when my
reporting instinct reared its horrible head and I asked
if I might borrow that picture to use in Screenland,
you looked horrified, shocked, startled, and incred-
ulous all at once. "Oh, no — I couldn't, really!" you

Madeleine Carroll and
most amusing scene fro
far the best modern Brit

said. And I liked you for that,
too. (And I didn't steal the
picture, either, did I?)

Now that your ponderous
American movie, "The World
Changes," has proved its right
to the title by fading right out
of recollection and your new
comedy melodrama, "The 39
Steps," has come along to more
than make up for it, can't you,
Miss Carroll, persuade your
husband to let you come over
to make a modern picture for
us, to show you're not just a
dreamy old-fashioned beauty,
but a warm, live, real, and
humorous young person, a sort
of blonde and British Claudette
Colbert?

And — ahem — I was just won-
dering. Now that I have, I
hope, assured you of our affec-
tion and esteem, I have a little
suggestion to make. Just a side issue, of course — for
you'll be welcome all by yourself. But while you're
about it, why not bring Robert Donat along? Not
that I care, you understand; but there are a couple
of thousand girls over here who keep wricing to ask
me when their "Count of Monte Cristo" is coming
back. And I have to tell them something to keep
them quiet.

Well, we'll be seeing you!

Robert Donat in the
m "The 39 Steps," by
ish picture ever made.

P.S. Regards to R. D.

SCREENLAND

Its Not Always
heir

Dear

ub ic

UNTIL Gene Ray-
mond told me
about The Red-
Headed Woman
At The Charity Tea, I'd
always looked upon a
Hollywood Star's "pub-
lic" in flashes of those
kids who hang around the
various Brown Derbies,
albums in hand, waiting
for their idols to come
out so they could tell
them how much they
loved them in a couple
of pictures they'd never
made.

And "movie fans" have
always meant to me the
cheering throngs who line
railroad stations, air-
ports, or the sidewalks of
theatres hours ahead of
the advertised arrivals or
departures of the cinema
great.

I'm pretty sure it was
this sort of public Pola
Negri referred to when
she once told me: "My
public are my dear sub-
jects!"

So, as I say, it wasn't
until I caught up with
Mr. Raymond over a
luncheon table at the Ven-
dome, and heard from his
own lips the saga of The

Red-Headed Woman, that I ever even suspected the dear
public could be as flattening as it was flattering, and that
it is a pretty poor crowd of "admirers" that hasn't one
good heckler !

Gene was saying : "Various actors have been severely
criticized for fleeing crowds, refusing to sign autographs
and dodging amateur snapshot artists whenever they can.
It is looked upon as ungracious and ungrateful to the
'people who made us what we are' — isn't that the popular

Crowds meant little in Fred
MacMurray's life until his first
public appearance after he
won screen fame. Then — but
see what Fred says about it.

Kay Francis says that the most terrifying thing in the world is to
be cornered by a crowd. But, above, Kay is behaving graciously,
as most stars will if you'll give them a fighting chance!

phrase? Believe me when I say that a fleeing actor is not
always an ungrateful one. He probably is just a scared
one ! For while the majority of people who swarm about
actors are sincerely interested and flattering in their at-
tentions, there are still those persistent few who make
our contacts with the public the most terrifying and
embarrassing moments of our lives !"

for September

19 33

Madge Evans is always gay, always agreeable when surrounded
by her fans. She has been known to autograph albums until she
contracted writer's cramp. Her slogan is "Smile, smile, smile."

It was then he told me about The Red-Headed Woman
— a tale to tell if I ever heard one, and a record all-time
low in the conduct of the dear public when it decided to
be not so dear.

The occasion was a charity tea, one of those "estate
open to the public — come and meet your favorite movie
star" events that are frequently pulled off for worthy

Some of the most embarrassing moments in
movie stars' lives have been spent among
their "admirers/' Read all about it here

By
Dorothy
Manners

causes when one or more
Hollywood actors hap-
pen to be vacationing
away from home. In
this case the spot was
Florida, and in the name
of good old charity Gene,
and Norma Talmadge
and Georgie Jessel, and
Thomas Meighan had put
in appearances to help
the good cause along.
They had booths from
which they busily signed
autographs, kissed young-
babies on the cheek, an-
swered questions about
fellow Hollywood play-
ers they weren't ac-
quainted with — the usual
sort of thing was in prog-
ress.

When The Red-Head
sidled up, autograph book
in hand, a charmingly
flattering and interested
expression on her face,
Gene smiled politely in
response, grabbed the
book and his fountain
pen, and bent over to
scrawl his signature. But
he never got his John
Hancock or even a good
X on that book !

For the "lady" had
grabbed hold of his blond
hair and was pulling it
practically from its roots
with all the strength in
her two hands, and she
was no weakling ! She
pulled and she shook, and
then just as suddenly and
unexpectedly as she
started the attack, she let
go and stood smiling naively at the pain-wracked actor.

"I've always wanted to know if your hair was real,"
she explained politely. "Now I'm sure it is!" And with
one of those I've-always-admired-you-so-much expres-
sions on her face she passed down the line.

"What did I do?" repeated Gene- "I don't know what
I did or how I looked, really. I know what I wanted to
do — I wanted to get out of there as fast as my feet would
carry me. But I stayed on and (Continued on page 71)

Until you have read, in this
amusing story, the episode of
Gene Raymond and the hair-
pulling fan, you really know
nothing about hero-worship!

SCREENLAND

Peering into the pri-
vate life of the new
idol, Charles Boyer,
and his romantic union
with Pat Paterson

By
Leonard
Hall

But yes! Monsieur
Boyer is boss, and
Pat Patterson is Mad-
ame Boyer and loves
it! Left, the Boyers
upon arrival in New
York from Holly-
wood, on their way
to Europe.

WITH some help from twenty journalists, cameramen,
press-agents and your hawk-eyed reporter. Mon-
sieur Charles Boyer, dream man of the hour, sailed
for France the other day on the fabulous new ferry-
boat, the "Normandie."

He was accompanied by a heap of assorted luggage, many good wishes,
and his pretty little English spouse, Miss Pat Paterson.

This Boyer ! Quel homme, or what a man ! After wandering un-
happily in and out of Hollywood for nearly five years, he suddenly set
us afire in two good roles. Again he is- what he was for years in his own
la belle Frawnce — a popular, pursued, and even pestered figure. "Private
Worlds" and "Break of Hearts" set the maids a'twitter. Now Boyer
Charm is one with Temple Cuteness and Dietrich Stems.

Oh, yes ! Here in the picture, just to the left of that stout girl with
the overhanging teeth, is the slender figure and sweet countenance of
Miss Paterson.

Just after they were married. Pat's
French husband wasn't famous in films
then. But iust look at him now!

for September 1933

Boyer's love scenes have at-
tracted more attention than any
screen lover's since Valentino.
Left, with Loretta Young in
"Shanghai."

Remember those tender in-
terludes in "Private
Worlds," in which Charles
Boyer scored opposite the
charming Claudette
Colbert?

What does a wife think
about when her husband
becomes a great mati-
nee idol? Pat Paterson,
below, seems to be smil-
ing through.

Do you remember the dream-
book romance that tied these two a
year and a half ago? It was fast,
furious, and curiously touching.
They were lonely strangers in a
new and nutty world. Boyer, hav-
ing been a dramatic star on the
Paris stage, was set to work as a
fiddling gypsy in a misbegotten mus-
ical dido called "Caravan." That's
Hollywood logic. Paterson, a shy
young British blonde, was serving a timorous apprentice-
ship on the same lot.

They first faced each other across the dinner table
of Mr. Bob Kane, an associate producer at Fox, and
legend says that by the time they were pecking daintily
at the avocado salad they were up to the floating ribs in
LOVE. So closely were they drawn by their spiritual
solitude, so frantic was the chemical action of the so-
called Tender Passion that in three weeks' time they had
chugged off to Yuma, Hollywood's sand-swept Gretna
Green, and were made one by the local judge, Cupid's
busy stooge for the movie actors.

On the prosaic calender, the date was Feb. 14, 1934.
To the newly-wed Slaves of Love, it was St. Valentine's
Day, and if there are any birdies in Yuma, they sure sang.

Well, the starry-eyed darlings floated back to Holly-
wood, preceded by a wife announcing the union, and
found a gala celebration in full cry. It was fomented
and led by that Ex-Dream Man, M. Chevalier, who
roared "Terrifique ! Charles, mon-vieux — you old son-
from-a-gun !'' and opened another bottle of bubbly.

The marriage was no front-pager. Both the contract-
ing parties were obscure, from the Hollywood viewpoint.
The next day the bride packed her tin dinner-bucket and
went back to work on Stage 2, while the groom put on
his gypsy trimmings and went out on the back lot to
pretend that it was heigho, for the Romany road again.

Now, it is a peculiarity of Hollywood life that a run-
of-the-mill movie mime may pointedly ignore his spouse,
or even cuff her about a bit, with no more than a mere
sniff on the gossip pages. The moment, however, the
chap becomes a Dream Man, his domestic affairs go at
once under the microscope. The wide-eyed world wants
to know, instanter, how a love-match stands up under

the burning glass of incessant public-
ity and the pryings of importunate
people. In this case, how was the
Moonstruck Madness of Charlie and
pp^pir Pat after eighteen months ?

■F^y It was with this thought in mind

that I attached myself, like a burr,
Wmf to the Boyers the moment they ar-

rived in New York for the jump
•J abroad. I met them at the train at

nine in the morning, and put the trusty
stethoscope on them as they stepped from the rattler,
with flashlight bulbs exploding in their sleepy-eyed faces,
and reporters asking how the coffee was before they'd
had any. I haunted the royal suite at the ritzy Ritz-
Carlton, and I said bon voyage and toodle-oo as the
"Normandie" was about to poke her thin, aristocratic
nose across the surging sea.

I made, in short, extensive researches into the do-
mestic life of the Boyers, for the use of future historians
and this magazine at the usual rates. And I found pre-
cisely what, I may say, I expected — namely, that this
sizzling romance has settled down into a marriage built
on the soundest European chassis, with the dominant
male furnishing the motive power and the female the
Fisher body and upholstery.

That is to say, there is no vulgar pushing and shoving
for the choicest place in the spotlight, as so often ap-
pears in the modern American-plan alliance. There are
no velvety digs in public between the parties, as might
be expected from nervous, high-strung thespians.

Ah, non, my little cabbages ! Very quietly, very gal-
lantly, with his stupendous Gallic charm at full speed
ahead, M. Boyer has become the undisputed lord and
master of the menage. Both these dear people are shy,
as any press-agent, with a sob in his voice, will tell you.
But Madame is the shyer.

I was fiendishly keen. I suggested that I should like
to commune with the Boyers en masse, over a steaming
dish of Lipton's best. Monsieur, with a graceful shrug,
was very sorry, but did not think Madame would honor
us. "Quel domage!" (A damn shame!) I murmured.
"Ah!" Monsieur murmured. "Ah!" I murmured back.
But, domage or no domage, there was no Madame.
Papa, as is the divine right {Continued on page 94)

SCREENLAND

Shirley proudly poses with
her big doll, left — it looks
just like "Our Little Girl"!
A doll like this will go to
the third prize winner.

The little star, at right and
below, models two of the
lovely little Shirley Temolo
dresses which are offered as
prizes in our contest.

Shirley Temple hats are
prizes worth winning.
Above, Shirley wears one
most becomingly.

Any little girl wearing a
Shirley hair ribbon looks
prettier! Dozens of rib-
bons offered as prizes.

Shir ey

nvifes You
To Enter Her

Contest!

IT'S easy ! All you have to do to compete is to tell
why you love the little wonder-girl of the movies.
There are so many reasons for loving Shirley, surely you
will find it simple to answer our question. In not more
than 100 words, tell why you love Shirley, or like her,
admire her, or find her amusing. Your letter may be
only 20 words; it will be just as eligible as if it is 100
words ; it may be in the form of a letter, a verse, an essay,
or just a plain statement of fact. Not difficult ; not in-
volved ; simply a forthright, sincere answer to the ques-
tion: "Why Do You Love Shirley Temple?"

Now for the prizes ! 535 prizes in all, ranging from

John Boles and Shirley — what a grand team! —
are enacting a scene for "Curly Top," above.

For young, old, everybody —
for all who love Shirley — and don't
we all? — SCREENLAND dedicates
the very first Shirley Temple Contest!

the Grand First Prize of a Shirley Temple outfit consist-
ing of coat, dress, hat and hair ribbons ; through sub-
stantial cash prizes, beautiful Shirley Temple dolls,
attractive Shirley dresses, more cash, hats, berets, etc.,
to 500 Shirley Temple photographs ! Prizes well worth
winning. Read the rules carefully, fill out the coupon,
answer the question. Get your family and your friends
interested. Every child will want a Shirley Temple
prize. Every adult will find it profitable to enter what
with the cash prizes, to say nothing of the mothers who
would love to present to their little Shirleys a genuine
Shirley Temple gift dress or hat or doll or hair ribbons !

for September 1935

First prize is a complete
Shirley Temple outfit of hat,
coat, dress and hair ribbons.
Left, Shirley shows you how
she looks all dressed up!

Below, the lovely little frock
which is included in the
grand first prize in the
Shi rley-ScREEN land contest.
Right, another prize dress.

More prizes! Above, the
dashing Shirley beret,
typically Temple
style. Isn't it

as to
7

Shirley, below, shows you
another style hair ribbon,
many of which are
offered as prizes.

PRIZES:

GRAND FIRST PRIZE: Shirley Temple
Outfit: Coat, Dress, Hat, Dozen
Hair Ribbons. *

SECOND PRIZE: $50.00 in Cash.

THIRD PRIZE: Shirley Temple Big Doll
(22 inches tall).

FOURTH PRIZE: $25.00 in Cash.

5 FIFTH PRIZES: Shirley Temple Dolls
(1 3I/2 inches tall).

SIXTH PRIZE: Shirley Temple Party Dress and
Dozen Hair Ribbons, Assorted Colors.

SEVENTH PRIZE: $10.00 in Cash.

4 EIGHTH PRIZES: Shirley Temple Dresses.

4 NINTH PRIZES: Shirley Temple Hats.

5 TENTH PRIZES: Dozen Hair Ribbons each,
Assorted Colors.

4 ELEVENTH PRIZES: Shirley Temple Beret &
Scarf Sets.

4 TWELFTH PRIZES: Shirley Temple Berets.

3 THIRTEENTH PRIZES: $5.00 each.

500 FOURTEENTH PRIZES: Shirley Temple Color
Photographs.

535 PRIZES IN ALL!

SCREENLAND wishes to express appreciation to the following
manufacturers, for their co-operation in our Shirley Temple
Contest:

Shirley Temple Dolls, Courtesy Ideal Novelty and Toy Co.
Shirley Temple Dresses, Courtesy Rosenau Bros.
Shirley Temple Coats, Courtesy H. & J. Block.
Shirley Temple Hats, Berets, and Beret and Scarf Sets, L. Lewis
& Son.

Shirley Temple Hair Ribbons, Courtesy The Ribbon Mills Cor-
poration.

RULES OF THE CONTEST:

1. Fill out the coupon.

2. Write a letter of not more than 100 words on the subject, "Why
I Love (or Like) Shirley Temple."

3. This contest will close at midnight, August 2 2, 193 5.

In the event of ties, each tying contestant will be awarded the
prize tied for.

Enclose coupon with your letter and mail to Shirley Temple
Contest, SCREE NL AND Magazine, 45 West 45th Street, New York,
N. Y.

I am entering the Screenland Shirley Temple Contest,
with my letter enclosed.

Street Address

City

State

SCREENLAND

HEN I think of the difficult time my poor
long-suffering colored nurse (I was the
Jane Withers of my day) used to have try-
ing to tie a bit of pink fluff on my straggly
hair and a sash about my middle and coaxing me to play
drop the handkerchief and make pretty talk to the nice
little girls — I am convinced, but definitely, that the worm
turns. Especially a ringworm. Now it would take all
the Nanas in Harlem, and a couple of hootnanas besides,
to keep me away from parties.

Why, I love parties ! I'm a perfect push-over for
parties. And Miss Wilson, unlike Miss Otis, never re-
grets. No matter whether it's scrambled words at the
Stuart Walkers, or a little tantalizing tango at the
Trocadero, or a bit of fudge-making at Zasu Pitts' —
(and Zasu always drops in a few shells and says, "Oh,
my!") — I'm the type who enters into the spirit of things
with the enthusiasm and joie de v'wre of a Peter Pan.
Just call it a party and you've got me. Yes, things were
getting so bad there for awhile that Miss Lombard used
to have her secretary phone me and say, "See here, now,
we're having a party tonight, and if you're passing by,

Next best fun to going to the star
parties is to read about them here!

By Elizabeth Wilson

Our very special party reporter

for September 1935

thank you." But I was looking for parties, not thanks.

My party career began in Hollywood one night about
four years ago when suddenly to my great amazement as
I turned into Sunset Boulevard I discovered that there
was something on my running board. It turned out to
be Tallulah Bankhead. Tallulah, it seems, was in a mood
and would not leave the Colony Club with Gregory
Ratoff, as any lady should, or should she? and had
picked my running board as a smart conveyance. There
was nothing to do about it but to take her to Sulka Vier-
tel's — who speaks only to Garbo who speaks to nobody —
and there I found Ernst Lubitsch devouring a cold snack,
Kay Francis burning a hole in the Viertel couch, and
Adrian making puns. It was my first Hollywood party
and it was all so gay and mad and utterly irresponsible
that I completely lost my pink-ribbon-pretty-talk com-
plex about parties, and the only thing today that keeps
me from being a Countess di Frasso, the party girl of
Hollywood, is about a million smackers. ,,

Yes, I may say that in my four years of partying in
Hollywood I have snagged some pets, and inasmuch as I
feel reminiscences coming on again, I think you're in for
hearing about them, so just be polite about it and remem-
ber that pretty is as pretty does and at best I'm pretty bad.

My favorite party-thrower is Carole Lombard. Carole
never just opens up a case of something, puts on an
evening gown, and invites her friends to drop in. Carole's
parties always have a definite idea back of them, and al-
ways an unusual setting. There was the hospital party
where she met you at the door in a stiffly starched nurse's
cap and dress and ushered you into the consultation
room ; and there was the Roman party where the Lom-
bard drawing-room suddenly becoming a sunken garden
with togas and grape-juice all over the place. But my
pet party was the "party to end all parties" which Lom-
bard threw a couple of weeks ago and which has had
Hollywood on crutches ever since. It seems that when
Carole visited New York last winter William Rhine-
lander Stewart, one of the Social Register Rhinelanders,
and A. C. Blumenthal, the nearest we have to a King
Midas, entertained Carole in the grand manner ; so when
they dropped in on Hollywood this summer of course
Carole felt that she must reciprocate. Everybody else in
'.own, I mean the socially-minded, had dragged Bill and

The "best Hollywood
parties" include a bit of
fudge-making at Zasu Pitts'
— and Zasu always drops in
a few nut shells and says,

"Oh

my!

Countess Frasso — at right,
below — is "The" party girl
of Hollywood. Dietrich, at
left, below, also in costume,
is a favorite guest.

International

Joan Blondell gave a
party for her sister
Gloria. Below, left to
right: Joan's father,
mother, sister, Joan her-
self, and husband
George Barnes.

The hostess, Carole Lombard, and two
of her guests at the Fun House party:
Elizabeth Wilson, our star party re-
porter, center, and Claudette Colbert.

Blumy to the Troc and the Clover
Club and the Lido and all the ritzy
places and put on their longest false
eyelashes and their real emerald
necklaces, and it was all quite stiff
and elegant and slightly boring ; so
when it came Carole's time to en-
tertain for the boys, she said nuts
to this chi chi, and took them down
to the House of Fun in Venice —
Venice, of course, being one of our
local California Coney Islands.

Carole rented the House of Fun
for the evening so no one could get
in but the somebodies invited — and
Ella, you should have seen those
mo'om (Continued on page 80)

SCREENLAND

Diary of a
DeMilleC

DeMille on a
camera tower
shouts directions
to the mob.

Scene-by-scene account of the
filming of "The Crusades," told in vivid de-
tail by one of its actors. Close-ups of stars at work

I'M NO longer myself — and it's no longer
1935. The year is 1190, the country is
England, and Richard the Lion Heart
is King. We're about to leave on
Crusade to redeem Jerusalem from the power-
ful grip of Saladin, the Infidel.

Cecil B. DeMille is going to see to it that
we get to the Holy Land, on the Paramount
lot. It's his show — "The Crusades." It is
not the story of some stingy and negligible
reform movement. It is a stirring, brave tale
in which this great director will recreate for
you an era that has never been equalled for
romance and spiritual ecstasy. A time when
war meant a towering combat between mighty
individuals. When men were strong enough
in body to wear fifty pounds of chain mail
and still swing a mighty four-foot sword with

eMille shows
"Saracen Fish-
er" how to
handle a bow.

Loretta Young as Berengaria and Henry
Wilcoxon, center, in a dramatic scene.

Katherine DeMille, as Alice, defies
Richard. Alan Hale, right, as Blondel.

Lumsden Hare, as Leicester, pleads with
Berengaria, a role Loretta Young "lived."

for September 1935

James B. Fisher

Spectacular mob scenes like
those at left, and above,
abound in the film. Above,
the siege of Acre — read
about it as seen by an extra.

Right, Henry Wilcoxon, as
Richard the Lion Heart and
Director DeMille go over
details of the battle — extras
earned their pay in that scene!

deadly results. When they possessed a spiritual strength
that gave them the courage to renounce home and se-
curity in order to venture into an unknown, hostile land
to fight for an ideal.
Saturday, February 2.

At seven this morning I stepped into the tights, leather
jerkin, peaked hat and pointed shoes of a twelfth century
peasant. Then to the sunny courtyard of Windsor Castle
where The Hermit (C. Aubrey Smith), mounted on a
pedestal, is already rehearsing an eloquent discourse,
designed to fire young and old with the crusading spirit.
We, his audience of peasants, belted yeomen, women in
bright gowns, crossbowmen, crowd eagerly about to hear
his message. Further back are mounted knights in chain
mail and surcoats of strange design. The tips of their
tall lances bear fluttering pennons. We all murmur or
shout approval according to the desire of director De
Mille, who swings dizzily overhead on the camera boom
lining up the scene about to be recorded on film.

In a squat-arched, massive doorway stands King Rich-
ard, (Henry Wilcoxon), surrounded by a group of cour-
tiers and visiting royalty. King Philip of France, (C.
Henry Gordon), is there with his sister, Princess Alice,
(Katherine DeMille), and the villainous Conrad of
Montferrat, (Joseph Schildkraut) .

Suddenly Richard moves forward to take the Cross.
Thus can he escape marriage with Princess Alice. The
pledge to undertake the Crusade voids all other earthly
vows.

Knowing nothing of court intrigue, we cheer our King.
An excited peasant, forgetting time and place, shouts
"God bless King George !" DeMille, who misses nothing,
groans : "Just about eight hundrea years ahead of our
story — let's take it again — and please remember that you
are now in the twelfth century!"

When the sun is so low as to make further shooting
impossible we are dismissed with the curt instruction :
"Report seven Monday morning, (Continued on page 67)

Richard tests his strength on the jaw of Richard and Berengaria told of Henry's The kings of Europe are defied by Richard

his, skeptical blacksmith, (Montagu Love). usurpation by Philip, (C. Henry Gordon). and Berengaria, a tensely dramatic scene.

SCREENLAND

Do You Bite

Stop that, Jean Har-
low! But Jean
right on nibbling
polish off her beauti-
fully manicured nails.

goes
the

Cary Grant says: "I
haven't any nervous
habits that I know of"
— and then proceeds
to tweak his ears.

Or chew pencil tops? Or grit your teeth?
Well, your favorite stars do!

Pat O'Brien, below,
doesn't bite his nails;
but he does smoke no
less than fourteen big
black cigars a day.

Norma Shearer, right,
has all sorts of endear-
ing idiosyncrasies,
even as you and I.
You know that giggle?

DO YOU know why Sylvia Sidney
breaks matches into tiny bits?
Do you know why Joe E.
Brown drums his fingers while

he talks ?

Do you know what makes Jean Harlow
nibble the polish off her beautifully mani-
cured fingernails, even if she is intensely
interested in a book or in people to whom
she is talking?

Why Norma Shearer always has two
bowls of water on the set so that she may
wash her hands innumerable times all
day long?

Why William Powell blinks his eyes?

Why Pat O'Brien smokes fourteen big, black cigars a day?

Why James Cagney wiggles his lower jaw back and forth
when he is confronted with a strange or new situation?

Do you know why you bite pencil tops? Swing your
foot? Grit your teeth? Twist your handkerchief?

Oh ! So you think you haven't any nervous habits ! Well,
just ask your best friend to tell you — or see yourself on the
screen.

It is almost an invariable law that every human being has one
or more habitual motor reflexes of which he is completely unaware.

Consideration of the whole remarkable matter of why people
behave in the ways they do started when Cary Grant said,
haven't any nervous habits I can think of."

He was clicking a thumb nail against a front tooth as he spoke
stared in fascination.

"No," he continued, "I haven't a single nervous mannerism, though lots
of people I know have."

His hand crept automatically — it evidently was an old,
familiar gesture — to the lobe of his right ear. He pulled
it gently, meditatively.

"No," he repeated, "there isn't a thing I do like that."

"Well, look !" I protested. "What are you doing now ?"

"What?"

"Pulling the lobe of your ear!"
"By Jove I" he exclaimed. "I didn't know that
I did that!" Then he laughed. "But I don't
think it's half as bad as what you are doing."

Panic-stricken with a sudden self-conscious-
ness, I caught myself in suspended animation,
and discovered that I had been beating a
tremendous tattoo with my pencil on the
desk. What other nervous trick I had
been indulging in, I don't know, for I
dropped everything and dashed out to
discover things about the stars that they
don't know themselves.

Fay Wray thought for a moment be-
fore she could remember anything she
does automatically. As she thought, she

for September 1935

Your Nails?

By Winifred Aydelotte

Victor

sports

ran her hands through the rippling masses of her lovely
hair, once, twice, three times. Then a smile spread
across her face.

"I do that all the time!" she said, surprised at the
discovery.

"Why?"

"I don't know. I just do! Of course, my
hair is the kind that can stand it, but it drives
the poor hairdresser wild. With one fell swoop
of the hand I can demolish any wave."

Victor Jory blithely admitted that he prob-
ably has the biggest collection of nervous habits
in Hollywood.

"I do everything!" he said. "Break
matches, draw circles and squares, tap
on the table, swing my feet, drum my fin-
gers, clear my throat — and I'll tell you
why I do it. In some way, I feel that my
vocabulary is not equal to expressing an
idea I am trying to put into words. So
I wave my hands, walk around while I am
talking, or make any gesture that occurs

Jory, below,
comfortable
shirts most of
the time; but his neck-
stretching urge persists.

Why

Powel

eye?

blink

Why

does William
blink his left
Why does he
his right
blink at a

eye?
ill, Bill?

Joe E. Brown not only
is a champion finger-
chev/er, but he drums
his fingers while he
talks, as well. Oh, well!

Can you imagine Fay
Wray mussing that
lovely, smooth coiffure
right after the hair-
dresser does her best?

to me to emphasize what I am saying."

He was wearing a polo shirt, open at
the neck, and as he spoke he stretched his
neck as if he were trying to ease the con-
striction of a tight collar.

"Why do you do that?" I asked.
His answer shed a new light on why
people do things of which they are uncon-
scious. It seems that he cannot tolerate
tight collars. Quite frequently, for the
screen, he is required to wear shirts fit-
ting tighter than those he buys for his
ordinary use. That is how the habit
started. Now it has become an uncon-
scious thing. Jory finds himself moving
his neck to relieve the strain of a tight
collar even when he is wearing an open-necked shirt !
May Robson sews furiously every moment she is not before
the camera. "Some people smoke," she said with her inimitable
twinkle. "Some chew gum. I sew. Takes the same place!"
There are a number of stars who seem to find some activity
with their hands a nervous necessity. Helen Hayes knits
almost constantly. Never do you see her when she is not doing
something with her beautiful, expressive hands, and no one
meets her without becoming conscious of them. If she is not
knitting; she is drumming them on the table, or waving them
emphatically with decisive little gestures to emphasize something
she is saying.

Robert Montgomery's chief nervous habit (and you may observe it
the next time you see him on the screen) is to shrug his shoulders. It
is a slight, almost imperceptible hunching, as if he were settling his
perfectly-cut coat into place. He joyously admits to the accusation that he
cannot sit or stay still for more than a few minutes at a (Continued on page 70)

SCREENLAND

Star
is

Mad

SHIPS. Trains.
Buses. Automo-
biles. Airplanes.
Making newer,
faster speeds. Breaking
records. Going places.
And each vehicle carries
not only passengers but
hope and fear and desire.

The cars and trains
and ships and planes go-
ing to Hollywood out-
wardly do not seem dif-
ferent from their replicas
going to Boston- or to

Baltimore. Perhaps it is only imagination, ever since
the Western trek of the covered wagon, that the caravans
which move toward the setting sun seem to carry with
them more of romance, of glamour, of youth.

Certainly the train, which from an airplane resembled
a brown earth-worm inching its way toward the West,
did not look as if it contained high hopes or high desire.
Even a close view did not make it seem different from
other trains. There were the usual assortment of pas-
sengers.

A little old lady with red eyes wore rusty black and
wept a little. A harassed mother looked after two fat
little boys who drank too much ice water and ate too many
chocolates. A tall man read an adventure magazine in-
stead of the thick volumes on the seat beside him. Four
prosperous-looking men played cards, with time out for
meals, sleep, and drink. The porter, with bottles and
covered trays, made trips to always-closed drawing-
rooms.

Three girls sat in one car. Each had a lower berth, new
luggage, a pile of magazines. Each was pretty. Each
was young. Each was alone. Each was so busy with her
own thoughts that, for the first day or two, she didn't
need to talk to anyone else. Then all three began looking
around.

There were no good-looking young men on the train —
though it is possible all three would have distrusted stray
young men. Not that they were above informal acquaint-
ances ; but they had ideas, now, that did not include a

Diana heard her voice, trembling at
first, grow stronger, as she imitated the
peculiarly drawled words of Claudia
Ray, and noted their effect on her
politely attentive audience.

future cluttered up with doubtfully acquired
boy friends.

A girl with curly, dark hair made the first move. She
stopped by the seat of the girl with blonde, sleek hair.

"Come and sit with me," she said. "It might make the
time pass quicker."

"Sure," said the blonde girl. And then, "that girl over
there. Maybe she'd like to join us, too."

The third girl was delighted. She, too, had grown
tired of mid- Western scenery.

It didn't take them long to get acquainted. After the
first few minutes of fencing they were as natural, per-
haps, as they'd ever be again.

Curly Locks was named Iowa Sommers. She ad-
mitted that the first name was not the one her family had
bestowed upon her.

"If I do make good," she said, "it will reflect credit
on my home state. And there's no reason why I won't.
I was in vaudeville last year and I've got a lot of pictures
— the photographer in my home town took them free.
He said I photographed beautifully." She was also

for September 1955

Beginning a color-
ful new serial — the
human story of a girl
who met with an ad-
venture that could
come true only in
fabulous Hollywood

By
Thyra
Samter
Winslow

prepared with the name of an inexpensive apartment
house.

The blonde girl's name was Sunny Beck. She, too,
admitted that her first name was her own idea. She, too,
was on her way to be a motion picture star.

"I met a man last summer who is a big director," she
said. "He said I was just the type they needed in
pictures."

"Isn't it lucky, us meeting like this," Iowa said. She
turned to the third girl. "Are you going to Hollywood
to be in pictures, too?"

"I'm going to Hollywood," the girl said, "but I'm not
going into the movies."

"You mean you're not even going to try to get in ?"
They both asked the question.

"No," said the girl. "I'm just going for a visit. Of
course I hope I see movie stars, maybe in the restau-
rants."

"You don't care anything about it?" Sunny asked.
"Not especially. You see I'm going to visit some
people I like an awful lot — a girl my age and her brother

who is three years older
— I'm sort of engaged to
him."

They nodded — and
looked at her. It seemed
such a waste !

She was a pretty girl.
Her slender figure was
delightfully rounded.
Her face was an interest-
ing oval, her cheekbones
high, her eyes long. Her
name they found out,
was Diana Wells.

Iowa and Sunny were
engrossed in their own
affairs. But in spite of
Diana being an outsider
they took her into their
confidences and when the
train reached Hollywood
they said, but not too
warmly, "Hope we'll see
you again."

They gave the address
of the apartment building to a taxicab driver and saw
Diana kiss a tall, bronzed young man and greet a nice-
looking girl. They felt this was probably the last they'd
see of Diana. Well, they were on their way !

Diana pushed the young man away just a little.
Looked at him.

"You're really nicer than I've been remembering you,"
she said.

"That's good," said Michael Stone, "though when you
see Clark Gable and Cary Grant and the other stars you
won't be able to see me at all."

"If you must know," said Diana, "you interest me as
a million times more than any movie stars. I don't want
to hear any more about them, ever. Two girls I trav-
elled with had memorized all of the movie magazines
published in the last five years — and I've been listening
to them. All I want is a nice visit with your mother and
father and Sara and you."

"I hope that will be enough," said Michael.

Diana smiled at him indulgently, as he piled the lug-
gage into his inexpensive car. (Continued on page 65)

ILLUSTRATED BY
GEORGIA WARREN

SCREENLAND

The Baby
Menaces

NOW I may go mad over Myrna Loy and Bill
Powell in the throes of a society sex problem,
or over the Yacht Club boys singing sophisti-
cated and naughty songs in a night club, or over
Bee Lillie and her G-Girls on the radio ; but believe it or
not I am just an old softie at heart, and every time I see
Shirley Temple and the Dionne Quintuplets I become a
maudlin sentimentalist. In fact, I'm a rabid Shirley
Temple fan. You can have your Joan Crawford, and
your Marlene Dietrich, and your Kay Francis, and all
the Glamor Gals and heaven help you ; but kindly leave
me Shirley Temple.

So no wonder that I was terribly upset the other day
when I heard that Shirley was being put upon by kiddie
menaces, kiddie picture-stealers, and kiddie kars. Mercy,
I said to myself, it's time that I do something about this,
so I pulled my Schiaparelli kerchief about me and flaunted
out to the studios to see for myself just "who is Jane
Withers?" and "who is Sybil Jason?" and "who is
Freddie Bartholomew?" Of course Freddie isn't offer-

Jane Withers, little "Miss Menace" in person, who made
everybody rave about her in her first screen part in the cast
supporting Shirley Temple in "Bright Eyes."

Freddie Barthol-
omew threatens
to supplant boy
stars who have
ruled as little
kings of the
screen, but
meeting Fred-
die dispels any
notion that he's
''menacing'
about it.

ing any competition to Shirley — he's Jackie Cooper's
nemesis; but ever since "Skippy" I've been that fond of
Jackie and I won't have him belittled. So with plenty of
arsenic-flavored lollypops in my reticule I sallied forth,
the "M" of Hollywood.

Jane Withers, as you doubtless know, is the little girl
who played the awful brat in "Bright Eyes" and played
it so well that the critics went into raves over Jane, and
practically forgot to mention Shirley in their reviews.
In fact, Jane did a first-class job of picture-stealing.
Now no star, particularly one whose name has topped
Garbo's on a theatre marquee, wants her picture stolen
from her by an unknown; indeed stars have been known
to do some pretty nasty things about that ; but strange to
say, little Miss Temple didn't seem to mind at all, and

Jackie Searle is Jane's first "man in her life." They
play together in little Withers' first starring film
"Ginger," and s-sh, are pretty friendly off the lot.

for September 1935

Shirley Temple is big about it, so why
shouldn't we also take a romp with these
talented rivals who contend for her throne?

By Margaret Angus

instead of snubbing Miss Withers at the studio the next
day invited her for a romp. But ah, 'tis said by the in-
nocent by-stander that Mrs. Temple wasn't so big about
it — that Mrs. Temple did not invite Mrs. Withers for a
romp. On the contrary, oh, definitely on the- contrary.

Anyway, with Mrs. Temple having tantrums in Fox
Hill little Jane was hastily removed to the Fox Western
studio and a month or so ago completed a swell, homey
little picture called "Ginger." It was at Fox
Western, miles and miles away from Fox Hills
where Mrs. Temple holds forth, that I met Jane
— and dubiously fingered the poisoned lolly-
pop safely concealed in my bag.

Jane was wearing a powder-blue suit with a
pleated skirt and had had her hair curled to
meet the lady from the magazines. After the
introduction she gave me a rose from her gar-
den, told me she was nine years old, was born
in Atlanta, Georgia,
and had been in Holly-
wood three years.
Goodness gracious, my
own home town ! I
closed my bag with a
snap. Anybody born in
Atlanta, Georgia, has a
perfect right to steal
pictures from Shirley
Temple, or even Greta
Garbo, if she wants to !
That's the way I feel
about Atlanta, Georgia.

Jane was born on
Gordon Street in At-

Sybil Jason, new
"baby Menace"
from England, is six
years old. Here she
is with her Sco+tie,
Mike Curtiz, named
after the director
who is making her
first picture.

Doing some of the imper-
sonations which have star-
tled Hollywood, the four
poses above and at right
show Sybil Jason, whom
you'll soon see in films.

lanta, and while she was still a baby she
used to imitate her mother's songs, and
wiggle her feet in rhythm with the radio.
When she was three Jane sang "Sonny
Boy" at one of those amateur theatricals
and brought down the house. The next
three years she did radio broadcasts over
WSB in Atlanta, and appeared at all the
local theatres where she would slay the
audience with her impersonations and her
dance routines. And of course everybody
began to say to Mr. and Mrs. Withers,
"Why don't you take the child to Hollywood?"

Three years ago Mrs. Withers and Jane arrived in
Hollywood with letters of introduction from everybody
in Atlanta, even Bobby Jones ; but Hollywood being what
it is, the letters were just so much paper. With the
exception of two days' work in "Handle With Care"
Jane didn't even get td see the inside of a studio until
about six months ago, when one of those things just
happened that may never happen again. Jane and her
mother were at the Fox casting office, once again, and
Mr. Ryan, once again, told them there was nothing that
day and just to wait as something might turn up later.
"Wait !" echoed Mrs. Withers with tears in her eyes,
"I've done nothing but wait for three years." It might
have been the tears in her mother's eyes, or it might have
been a happy inspiration, but Jane turned blithely to Mr.
Ryan and asked, "May I do (Continued on page 84)

SCREENLAND

Stepping the Astaire

Explaining how nimble-footed Fred proved
that

non-romantic type
popularity and

can attain top-flight
screen stardom

Say, debonair, everything seems to come easy to
Fred. At right, how dance scenes are filmed, with
Fred and Ginger Rogers stepping for "Top Hat."

A GROUP of boys and girls, cheated
of an outing one rainy Sunday,
gathered at the home of one of their
number to salvage what they could
of the day's losses. They started a game
whose point I don't remember, but it in-
volved the answering of a number of ques-
tions. One of the questions was : "Who's
your favorite movie' actor ?" The answers
of the girls varied. When the slips of the
boys, aged seventeen and eighteen, were col-
lected, every one bore the name of Fred
Astaire.

Such unanimity made me curious. But
like most boys of their age, they wiggled
away from analysis. "Aw, he's a good egg,"

they shrugged. "He's a regular guy." "He doesn't act
like a movie actor."

One, more articulate than the rest and more tolerant
of prying elders, sought to satisfy me. "Everything
seems to come so easy with him," he said. "Not just
dancing, I mean, but walking and talking and everything
he does. Even if he likes a girl, he doesn't go round
heaving his chest about it and looking like a sick cat and
all that kind of hooey. He acts the same as any fella'd
act — like a — like a — like a human being," he brought
forth triumphantly, "instead of a sap out of a book.
Say — " he went on with mounting fervor, "I'll bet if he
was here right now, he'd sit down and gab and kid with
the rest of us, and you'd never even know he was Fred
Astaire."

"Till he started hoofing," sighed a girl.
"But you've got to admit," argued another, "that he's
not the romantic type."

Which remark was greeted by a loud razzberry. "Ro-
mantic blah!" yelled the orator-in-chief above the din.
"He makes me feel g®od. I like him.

All of which I thought summed up pretty neatly the
qualities that, within a brief year, have made Astaire a
name to conjure with in the movie world — the effortless

for September 1933

Way to Film Fame

grace and simplicity that "seem to come -so easy" but are
actually the fruit of hours of painful toil, the humor airy
as his footwork, the casual manner, the gay good will, the
debonair charm blended of all these things plus that
elusive ingredient we call personality — all combining to
achieve the impossible — to send an actor who's "not the
romantic type" shooting sky-high above most of those
who are.

It's a phenomenon that's astonished no one more than
the shooting star himself. Not through any sense of false
modesty. Astaire, after all, didn't have to wait for the
movies to tell him he was good. He's been dancing and
acting for years to the plaudits of two continents, and he
naturally hoped for some measure of success from his new
venture. But he's as genuinely unpretentious a person in
his own right as in the parts he plays. And an equally
level-headed one.

"Look," he said, breaking into rapid speech. "Anyone
who's been in the show business as long as I have has no
excuse for losing his head. He's taken too many knocks.
Success on the stage doesn't mean that you start at the
bottom and go to the top and stay there. It's more often
a case of up, then a set-back — sock !" — an expressive fist
smote his palm — "and then, if you're lucky, a slow climb

Exclusive authorized interview

By Ida Zeitlin

Looks like Ginger and Fred are dancing with
thoughts of other things in mind. But fear not,
they're not bored really, just acting that way.

up again. If I don't have a hit, I suffer like
hell. If I do, I say: 'O.K. That's fine. It's
my job to have hits.' It's the same as in any
other profession. When a surgeon operates
successfully, does he go round rubbing his
hands together and chuckling : 'Oh, boy, did
I carve that bird up elegant ! ?' No. Then
why should I ?"

His choice of language is simple, his ex-
pressions terse and to the point ; and though
there's a characteristic lightness in both
speech and action, it seems to be the lightness
of steel, masking strength. He sits quietly
for the most part, gesturing only now and
then, but his very quietness smacks of deci-
sion. His incredible legs are crossed in
repose, and I {Continued on page 72)

SCREENLAND

Two rough, tough guys, Clark and
Wally, below, in "China Seas."
But read what they really think
when the script calls for them to
manhandle Harlow!

here's NO GIRL We'd

WALLACE BEERY and Clark Gable are at
it again. They are treating poor, little Jean
Harlow rough for benefit of camera. And
does Jean mind it? Not one iota. She has
proven for the 'steenth time she "can take it."

When the fellow who wrote axioms put down "Three's
a crowd" he could not have been thinking of three people
like Wally, Clark and Jean. For these three make up
the most congenial "crowd" you might find any place. It
is pretty hard to figure out which is fonder of "which."

When I asked them how they liked to sock and man-
handle her, both Wally and Clark went to bat for Jean.
They spoke as one man.

"Do we like to sock her? There isn't a girl in Holly-
wood we would rather sock ! She's such a darned good
sport about it all."

But Clark looked worried. So did Wally. The big
scene in "China Seas" was about to come off. Both men
have had to treat Jean rough in their pictures together.
Clark was rough and tough with her in "Red Dust" and
now Wally all but "whales the tar out of her" in "China
Seas."

Jean noticed Clark's nervousness and understanding^
kidded him. They always kid back and forth when they
are together for both have a grand sense of humor. And
they are like a couple of kids between scenes.

"Did he tell you the bad habits he taught me in 'Hold
Your Man' ?" she asked me. "He showed me how to
swing that wicked left I developed in the picture. I re-
ceived, more fan letters praising my delivery, too !" It
was a cute trick. In the picture she mentioned, she was
forever popping over her rival with that little left jab.
And coming from a girl the size of Jean it made a hit.

"To be honest," Clark amended in an aside just before

Wally and Jean went into their big scene, "I hate like sin
to be rough with Jean. She is such a grand sport about
it, and that makes it even worse. Lots of times she gets
hurt and bruised, but never whimpers. Of course, I
would rather sock her than anybody else because she
understands perfectly. I always tell her, 'This is going
to hurt me worse than it does you !' You know how
mothers always make a fellow feel even worse when they
take down the old hair-brush. We kid a lot about it,
and it's no lie either."

In the rough scene staged between, Wally and Jean,
he all but swabs the deck with her, but Jean doesn't mind
it half as much as she should. She knows it is a grand
scene ; and never forgets that there were many months
last winter that she spent in idleness wishing they could
find a part for her that she could sink her teeth into. '

When the director yells "Cut !" and they are given a
brief respite, Wally steps out of the scene and pinches
her cheek affectionately.

"Tough goin' ! Eh, kid ?" he says ; then, solicitously,
"I didn't hurt you too much, did I?"

And Jean tilts back her head saucily. "I should say
not ! What do you think I am, — a babe in arms ?" She
rubs her shoulder absentmindedly, where Wally 's huge
hand has gripped it. Called back on the set, they go
through it all again. And again.

While the camera grinds, Clark stands on the side-
lines, watching the action a bit grimly. No doubt he is
remembering the rough treatment he had to give Jean in
"Red Dust." He had to dunk her in a rain barrel when
she was taking a bath, and do various other rough-tough
scenes with her. This picture will long be remembered
by Gable-Harlow fans. And they are legion. For Clark
and Jean work in such complete harmony, that it never

for September 1933

She can take it! Jean,
in her new charac-
ter in the new film,
with Beery, right.

rather SOCK!

Here's what we're waiting
for! More Gable-Harlow
scenes like this, above.

That's what Wally Beery and Clark Cable
say about Jean Harlow. Would you like
to be in Jean's place in "China Seas"?

By Mary Sharon

fails to show in their screen performances. Astrologers
would probably say this is because they were born under
sympathetic stars ; but, whatever the cause, they think
alike, react in much the same manner to given conditions,
are in entire sympathy with each other.

Down-to-earth characterizations are their forte. Clark
is polished, sophisticated, and charming, off-screen. But
when he steps before the camera, he has the simple,
earthy soul of a truck-driver..

And Jean, born to the purple, with a background of
breeding and charm, doffs her real self like a cloak when
she steps on the set. By some freak of circumstance,
when the camera grinds, she is a perfect little devil — al-
though always of the "all-wool and a yard wide" kind.
You approve of her and wish for a happy ending. And
no matter how Clark seems to answer the call of the
"other woman," who is usually cultured and correct and
all that the film Jean isn't, you are always hoping that he
will come back to Jean in the end. That is because you
feel the sympathy that exists between them.

They have grand times together between scenes and
are very good friends. Theirs is the kind of friendship
that doesn't need constant association to keep it alive.
They rarely meet when they (Continued on page 76)

The sizzling stellar trio of "China Seas": Beery, Harlow, Gable.
Which man gets the gal? We should give away the plot!

SCREENLAND

from the latest hits of

Curly Top" is tops for Shirley! SHE
DANCES AGAIN . . . SHE SBNGS 2 SONGS
ire this excitingly different story!

"SURPRISE!" SHIRLEY SEEMS TO SHOUT
GLEEFULLY. For what a joy package of surprises
this picture will be!

"Curly Top" is completely different in story and
background from all the other Temple triumphs.
This time, Shirley plays the mischievous, lovable
ringleader of a group of little girls, longing for
happiness and a home. Once again, she dances —
she sings— in that winsome way which captured
the heart of the whole world.

And . . . SURPRISE! . . . Rochelle Hudson, as
Shirley's faithful sister, sings for the first time on
the screen, revealing a rich, beautiful voice in a
song that will be the hit of the year. Her song
duets with John Eoles — their wealthy and secret
benefactor — lead to a love duet that ends in perfect
harmony !

"Curly Top" is tops for Shirley . . . and that
means tops in entertainment for the whole family!

"All my life, I've had a hunger
in my heart ... a hunger to
love and be loved."

•cuuiy TOP'

You'

H che

rtv

by RA"* " u„7a

„ s tin ^

Ht^ i Song*""'

Amend** Up'
"\When i °' .

. i Crackers m
Animal i v.

W "Cor\Ylop

fAY So"?
s »n L«e
to ^e

with

JOHN BOLES
3CHELLE HUDSON

JANE DARWELL

Produced by Winfield Sheehan

Directed by Irving Cummings
•

"Spunky— if you don't stop sneezing,
you're going to catch p-mania. You
reeliy ought to have a hot lemonade. "

or September 1933

your

YOU . . . who loved "State Fair". . . HAVE
ANOTHER TREAT COMING!

Set in a dramatic, colorful era of American life
now shown for the first time . . . when the speed
of the railroad doomed the picturesque waterways
. . . this story is a refreshingly new, vital, heart-
warming tale of simple folk on the great Erie
Canal, when it was one of the world's wonders, the
gateway through which civilization took its West-
ward march . . . when its lazy waters rang with
the shouts of swaggering boatmen, bullying their
women, brawling with their rivals.

Through it all threads the romance of a kissable
little miss who hides her sentimental yearnings be-
hind a fiery temper . . . while a dreamy lad, home-
sick for the soil, contends for her affection with
the mighty-fisted bully of the waterways.

Ask your theatre manager when he plans to
play it!

Joan Bennett pauses in
her reflections to tel.
why she is prepared to
quit Hollywood if that is
the only way to gain the
goal she has set.

Joan
Joins
the Rebels

The youngest Bennett will go back to the stage
if necessary to prove her mettle as an actress

Tom Kennedy

HE office girl, whose name
wouldn't mean a thing even if we
printed it in all caps LIKE THIS,
foregoes her evening meal to ar-
rive punctually at rehearsal for the show some ama-
teur group is staging. "She's stage-struck," you say.
The stage star you've read about many times, nerv-
ously applying make-up for this opening night show,
stops suddenly to wonder if movie scouts will be "out
front" to see, and, she hopes, sign her for films. Is the
stage star screen-struck?

The movie star takes a long-awaited vacation from
the studios, hops a plane for New York to make the
rounds of the Broadway shows, and between times dis-
cuss with managers available stage shows for next sea-
son. "Good heavens," you wonder, "is the movie star
who has what the stage star would like to have, (a Holly-
wood contract), stage-struck just like the office girl?"
Well, what is the answer ? Perhaps you know it right

off, but one who, during the past couple of months, has
heard move movie stars than you could shake a stick at
declare and affirm they want "to do a play," was more
than a little uncertain about it until Joan Bennett, who is
as patient about answering your questions as she is beau-
tiful to look at, came right out and told why she spent
most of her recent holiday in New York reading manu-
scripts for plays in eager search of a good stage vehicle.

Now Joan Bennett is not one to strive for dramatiza-
tion of her off-screen conversation, nor to impart glamor
to that which is patently just a perfectly reasonable fact
or conclusion. Nevertheless, her admission that she was
reading plays and wants to do one on the stage, came as
something of a surprise even to one who had heard many
and many a screen personage say identically the same
thing.

First of all, the Little Sister of a famous theatrical
and screen family had walked out on the theatre after
one show, a not very fat part in "Jarnegan" in which
her father, Richard Bennett, starred in New York, to
accept a movie contract that began with a lead role op-
posite Ronald Colman in his first talkie, "Bulldog Drum-
mond."

Prior to that the youngster of the Bennett Clan had
renounced her theatrical heritage and declared she never
wanted to go on the stage, showing she meant business
when she said that by marrying and settling down to love
in a cottage. Of course, the (Continued on page 89)

Bright days ahead for Sam Goldwyn's "Dark Angel," what with Freddie March looking younger and hand-
somer than ever, and the exciting Oberon in her first really big American role. Glance at these close-ups.

Team V^ork!

That's what makes our
movies go round. Holly.,
wood talent and personaU
itv pull together, and the
result is stimulating enters
tainment. Example No. 1:
Fredric March and Merle
Oberon,, co-starring in
"The Dark Angel"

Portraits exclusively posed fur
ScltEENLAND by Kenneth Alexander.

"So Red The Rose"—
and so sweet the hero-
ine! Universal loaned
Margaret Sullavan to
Paramount for this pic-
ture, and she surprises
everybody by being a
good little girl, not only
giving the great per-
formance we expect of
her, but posing prettily
for the photographer.

argaret looks please!
and she should be — fl
her new leading man!
none other than Ra j
dolph Scott, most "il
demand" young acttl
of the movie momerl

Eugene Robert Richee

ANN HARDING and Gary Cooper, new and thrilling
xi-team, appear in "Peter Ibbetson," the beloved duMaurier
classic with its fragrant charm and romance of a bygone day.

/estzretay

Eugene Robert Richec

and Today

GOLDEN girl of our times: Loretta Young, her most ex-
quisite self in "Shanghai." Loretta has luck in leading
men: Colman, Gable — and now Boyer, the new idol.

The

Two
Bills!

Will Rogers,
known to his
pals as "Bill,
is now "lit Old
Kentucky

The famous play, "In Old Ken-
tucky," has been adapted as a
Rogers vehicle; and if we may
believe the evidence of these
advance "shots," it will be a
picture to please lovers of "old
Kainruck," Will's humor, Bill
Robinson's dancing, and a dash
of young romance by Russell
Hardie and Dorothy Wilson.

One of the funniest scenes in the new
Rogers film shows Will as a dancing
man, left, with Louise Henry. By
gosh, we believe he enjoys it!

Bill Robinson, above, goes to
town with Rogers and Russell
Hardie as an admiring audi-
ence. Of course you remember
Robinson in "The Little
Colonel."

Both

Box-
Office!

"Mr. Micaw-
her" goes mod-
ern in Lis new
comedy. Wnat,
no juggling ?

W. C. Fields exchanges the droll-
eries of Dickens for a speedy
farce in which he has full oppor-
tunity to take advantage of his
"Follies" training. Below, the
big lollipop scene with Mary
Brian. Funny, Fields always sees
to it that there is a very pretty
girl in every Fields fun-film!

"Everything Happens at
Once" is the working title of
the new Fields picture; and so
far Bill has had a black eye
and a dressing-down from his
movie wife.

The familiar Fields gesture, right,
of raising the hat with the little finger
daintily extended, is sufficient to
send some audiences into hysterics.

Wait a minute! That cry of "No, No!" is from Joel
McCrea and Frances Dee, not from us. The
McCreas ARE Hollywood's happiest couple, all
right — but they insist the best way to outwit the
Hollywood marriage jinx is to keep on being happy
but not shout about it.

Hollywood s Happiest

^oupie

le - No, No!

Joel McCrea, signed to play opposite Miriam Hop-
kins in her next picture, is going right on to the top
in cinema circles. That's one reason he looks happy.
The other reasons are Frances Dee, his beautiful
wife who scores in "Becky Sharp," and their son
and heir, Joel, Jr.

Play's tkd

Pas tiiii in £ in Picture!
Town is also an art— -thel
art of having some f unil
en, stars?

- \ -

It's fair weather when the Crosby boys get together at the
beach, though one of the twins seems to resent the camera
butting-in. That's Gary Evan at Bing's right.

Ross Alexander, who's so carefree on the screen, goes in
for "big business" as chief stockholder and despatcher of
this miniature railroad set up in his playroom at home —
at the right, and below.

That great and grand d
trouper^ May Robson, I
never so happy as wh
she's making neckties
knitting sweaters for h
family and friends.

4- *#

Two of Hollywood's most famous playmates are Wallace
Beery and his daughter, Carol Ann, seen at right, and as
usual having a swell time. Carol Ann has a tiny r61e in
"Qhina Seas" with her daddy — watch for her.

riling in Hollywood!

Joan Blondell's current pastime is a race-horse game
which Joanie plays on the floor of the Blondell-Barnes
"rumpus room." Goodness — how "wild" Hollywood
parties must be!

Clowning again! Jack Oakie
dispenses soda and laughs
to Fred MacMurray and
Wendy Barrie.

James Cagney's playroom
at his Brentwood home is
one of Hollywood's finest
and most typically mascu-
line. Jim's collection of
weapons, both ancient and
modern, is seen, in part.
(P.S. He left his machine-
gun at the studio). Direct-
ly above, Jim and his
favorite dog.

Fred Astaire gets a kick out of
kidding his pals, and here's
his neat "rib" on those tower-
ing birthday cakes so popular
in Hollywood. Fred's own
vest-pocket edition, left.

Kuby Joins

the Navy!

year Ruby Kceler
wont to West Point.
Now she's at Annapo-
lis, and a pretty Middle,
too, for her new film
with Dick Powell.

Very Clever,

TIr

Herbert Marshall long
since built the foundation
of an important career on
which he continues to
elaborate as one of the
screen's finest leading men.

A recent but promising
addition to the group of
brilliant Britishers in Hol-
lywood is Ian Hunter, at
left, enjoying California
sunshine with his terrier,
at Malibu Beach.

Very young, but enormously clever
is Freddie Bartholomew, who makes
his next screen appearance with
Garbo in "Anna Karenina."

Presenting David Niven, above, former British
army officer and now in Hollywood as a
Samuel Goldwyn discovery with a role in
"The Dark Angel" as his first, assignment
under the new contract.

Englishmen

British
career-builders !
Here are some of
John Bull's best
actors 9 all malting
good in movies

lenry Mollisori, above, is another newcomer
rom England. Henry has a contract to do
everal American films, his first to be "Sing
A.e A Love Song," with Ricardo Cortez and
Dorothy Page.

And here's the Britisher
who created perhaps more
stir in screen circles than
any of his colleagues.
Right, Charles Laughton
memorizing lines for
"Mutiny on the Bounty."

Exclusive Sciieenland Portrait by Irving Lippman, Columbia Studios

The Most Beautiful Still of the Mouth

Ann S other n and Roger Pry or in "The Girl Friend"

bos E

Garbo, in her latest role, makes up by candle-light. You can be lovelier
under the flattering lights and shadows cast by dinner table candles, if
you test your own make-up by candle-light.

JUST suppose, if you can stretch your imagination
that far, that Greta Garbo was merely a pretty girl.
Do you think for a minute she could play "Anna
Karenina," considered by many the greatest emo-
tional character in fiction? Beauty like Garbo's is far
more than prettiness. It has character and animation and
mystery that leaves you with a picture of her you can't
forget.

Real beauty centers around the eyes. You don't care
so much what Garbo does with her hair or her clothes.
It's her glorious, unforgettable eyes that make you live
the part she plays as if you were the heroine yourself.

Eyes speak the language of emotion, and it's the reflec-
tion of emotion on your own feelings that gets you.
Garbo, like every great emotional actress or screen star,
makes the most of her eyes. She knows what they'll do
for her and she gives them plenty of opportunity.

Whatever you do to improve your own good looks,
play up your eyes ! There are so many things you can
do to make them look larger and brighter and to bring
out their loveliest color tones. Rouge sparingly. Too
much rouge distracts attention from your eyes. You can
add much to the allure of your eyes by shading your
rouge delicately up toward your temples.

Eyes should shine. Not only that, but the area around
them should shine. Never powder over your eyelids or
too close under your eyes. Unless you use cream eye

yes

New fashions in make-up throw
the spotlight on shining eyes

Elin Neil

shadow, a little eye cream or your regular
nourishing cream over your eyelids and
just under the eyes give the shiny finish
that is both smart and flattering.

There are the most exciting new shades
of eye shadow. And what an eye shadow
will do for your eyes is just one of those
things you'd better find out for yourself !
Blue, all the way from a thrilling midnight
shade to a soft bluish gray, does wonders
for the blue-eyed girls. Mostly for evening
make-up, but a good deal of it is worn in
the day-time, too. A gorgeous midnight
blue creamy mascara comes in a little tube
and can be used for lashes, eyelids, and to
give a bluish (Continued on page 93)

Let your eyes speak for
world of en-
chanting mystery is ex-
pressed through eyes
made up with the sub-
tle finesse Greta Garbo
gives to hers.

SCREENLAND

No More Ladies — M-G-M

IF IT'S light, frivolous, and frothy entertainment you're
looking for, here is your picture ! The most superlative
cast of the month works hard, fast, and furiously to
amuse you. Speaking of money's worth at the movies,
you have it here, with Joan Crawford, Bob Montgomery, and
Franchot Tone as the stellar trio — don't you feel expensive? —
surrounded by such additional talent as Edna Mae Oliver, at her
funniest ; Charles Ruggles, ditto ; Gail Patrick — this is the Metro-
Goldwyn-Mayer Gail, and stunning, as distinguished from the
submerged Paramount Gail ; and a new comedian, to me, named
Arthur Treacher who almost wins me away from Ruggles, he's
that priceless. The plot, if you must have it, concerns the neat
little lesson taught Bob, the philandering husband, by smart
wife Joan, against the usual smart and ultra-modern M-G-M
backgrounds. A fashion feast provided by la belle Crawford; a
splendid performance by Mr. Montgomery — his best in a long
time: and a correctly clever contribution by Mr. Tone, not to
mention others of the all-star cast, make it a "Must see."

Reviews

of the best

Pictu res

Becky Sharp — Pioneer-RKO-Radio

AN occasion! THE picture of the month, to be put at
the top of your list. I can't promise you'll be converted
to Color, but I can promise you a stimulating time. Oh,
how the girls are going to argue about what color does
for or against Miriam Hopkins and Frances Dee ! Yes, "Becky
Sharp" is a highly controversial cinema exhibit. The very first
feature picture in the newly perfected Technicolor, it marks the
beginning of a cycle, as surely as "The Jazz Singer" started the
talkie trend — whether you like it or not. I don't want to make
any rash prediction that every picture, within the year, will be
all-color; but I do believe that "Becky Sharp" is a noble li'l
pioneer woman, so watch her. The Thackeray novel is admirably
adapted to the use of color, with its pomp and circumstance of
the social-military scene ; its gallery of glittering portraits ; and,
above all, its heroine, the supreme minx of fiction, scheming, be-
witching Becky — played superbly, and in all truth and honesty,
by Miriam Hopkins. Cedric Hardwicke takes next honors, with
Miss Dee, Nigel Bruce, Alan Mowbray, and others excellent.

poor

Nell Gwyn — United Artists

HERE'S the much-talked-about British picture that had
to wait a whole year to be shown over here, due to its
. reputedly scandalous character. I warn you, if you want
to quarrel with the prologue and epilogue which paint
Nelly in sordid colors, don't blame the producers this
time — take it up with our own censorial brains who saw fit to
re-vamp history so that "Nell Gwyn" would point a dubious
moral. Try to time your entrance to skip the distressing prologue
— and I'll guarantee you some most amusing moments when the
real saga of King Charles II. 's most vivacious gal-friend steps
on its gay and giddy way. I think you'll enjoy Anna Neagle's
spirited performance of the foremost hoyden of her time, as she
attracts the wandering eye of the King, charms the monarch with
her high good humor, and eventually wins the real regard of
the man. La Neagle is particularly charming when she dances —
a vision of grace. Cedric Hardwicke is an impressive Charles —
just the right blend of kingly dignity and humorous daring.
Jeanne de Casalis — Mrs. Colin Clive — is cleverly cast.

for September 19 33

BIG EVENT:
"Becky Sharp"

MOST FUN:
"The 39 Steps"

BEST CAST:
"No More Ladies"

DON'T-MISS MUSICAL
vLove Me Forever"

MOST STIRRING DRAMA
"Sanders of the River"

The 39 Steps — Gaumont-British

THE most ingratiating picture of the month! It's the
British "It Happened One Night," and just as good en-
tertainment in its own fashion. It gets off to a slow start,
but once really under way, it never lets down a minute,
and you are swept along in a melange of thrilling melodrama,
delightful romance, and charming characterizations, with the
added excitement of never being sure what's going to happen
next — it's a surprise package of a picture ! In every department
it is by far the best modern film the British studios have sent us :
book by the celebrated John Buchan, adaptation by Ian Hay,
direction by the clever Alfred Hitchcock, and stellar acting by
Robert Donat and Madeleine Carroll — two winning personalities
and admirable actors. Starting off with a smash — a nice, juicy
murder of which our hero is suspected — "The 39 Steps" gathers
dash and speed and suspense until it has you jittery; and you
won't be disappointed in the ending — a rare occurrence. Can't
give away the plot ; but trust Mr. Donat and Miss Carroll to hold
you enthralled. Especially Donat. Don't miss this for any reason !

Love Me Forever — Columbi

Sanders of the River — United Artists

GRACE MOORE does it again! Her new musical ro-
mance is very nearly as good as "One Night of Love" —
. which means that it must not be missed by anyone who
enjoys fine singing from the screen. This time the star
seems more sure of herself, and of her medium. She springs into
her latest role with genuine zest, and her operatic numbers sur-
pass, to my ear, the "Butterfly" of her first successful film — per-
haps because I have a sneaking fondness for "La Boheme," and
perhaps because an arresting screen newcomer, Michael Bartlett,
scores a vocal sensation opposite the star. The new Moore
vehicle presents her once again as a struggling song-bird, with
a colorful "angel" in the form of Leo Carrillo — who is the acting
hit of this show. Carrillo practically tears to pieces the vivid role
of the gambler, Corelli, who sponsors the heroine right into a
Metropolitan contract, and is precipitated into terrific drama on the
eve of her opera debut. There's just about every sort of romantic
and melodramatic device used to make "Love Me Forever" a
knockout vehicle for Grace Moore's gorgeous voice ; and it is !

/gp|\ YOU'LL get those jolly old jungle jitters when you go
i&gH||! to see this highly effective picture. It's a stirring, spirited
^§SSak melodrama of the Dark Continent, with Paul Robeson
giving a magnificent performance as a tribal chieftain ;
Leslie Banks, that excellent actor, narrowly crowding Robeson
for first honors in the role of Sanders, the British administrator ;
and Nina Mae McKinney — remember her in King Vidor's "Halle-
lujah"?— contributing a memorable sketch of a dusky belle of
the Congo. There's a distinctly . different value to this exciting
drama, due partly to the fact that much of it was actually filmed
in Africa; and the authenticity of the ceremonial dances and
other native customs is impressive, especially as contrasted with
the modern rescue methods of Sanders, who arrives to the rescue
of Big Chief Robeson armed with machine-guns — in the good old
familiar nick of time. Robeson's great voice rising in song alone
makes "Sanders of the River" worth your time; but it possesses
as well a credible story told with admirable dash and decision.
The picture has rhythm and imagination.

SCREENLAND

amor

Sch

Edited by

Hollywood stars are charmingly inconsictent!
They can afford real jewels — but they take great
pains to select lovely costume jewelry, even as
you and I. See, above, Fay Wray's exquisite
earrings of white and green rhinestones repre-
senting diamonds and emeralds; her square-cut
"emerald" and "diamond" rings, and her
bracelet of "emerald" stones.

Mid-summer smartness! Fay Wray, light,
brought back from Europe this natural
linen and silk ensemble, perfect for wear
right now. The dress is of mulberry and
beige polka-dots, with scarf neck. Below,
the accessories, which as Fay says can
"make or break" a costume. The dipper
turban is topped with mulberry carnations,
with handbag and shoes of the same shade.
See particularly the interesting new effect
on the heel and toe of the shoes.

for September 1935

Fay Wray's
Paris Clothes
and Accessories,
combined with
Hollywood Beauty
and Chic, give big
Clamor Scoop

to SCREENLAND!

Navy blue and white — smarter
than ever right now! Note, left,
Fay's white pique hat and jacket
topping a navy blue sheer silk
frock. Her handbag and gloves
are also navy blue.

S. S. and G. — (sweet, simple,
and girlish, of course) — is Fay's
Paris frock, right, of navy blue
with its sash of dust-of-roses
taffeta. The "sunflower" hat is
the same lovely rose color.

Fay, wearing a "different"
print of brown and pink cart-
wheel design, below, with high
pleated neck, long full sleeves,
and an unusual bandanna effect
at the hips, freshens up with
t4ie aid of her new vanity bag.

Completely mad, this hat! The
unique flower treatment whis-

dian turquoise ring on Fay's
fiand — and coral finger-tips!

SCREENLAND

Banish Nerves,

eauty

The Hollywood Way!

James Davies shows
Wendy Barrie —
and you, too! —
how to make the
most of his health-
ful exercises. Re-
member, Holly-
wood's authority on
weight and diet
problems is here to
help you. See Page
87 for James Da-
vies' answers to
readers' questions

N_rERVES are the great Amer-
ican affliction.
"I can't sit still a minute !"
"I can't let go !"
"I'm all keyed up !"
"If I have to wait, I get nervous."
These remarks are only samples of
the sort of thing girls say who come
to me for relaxation massage. Statis-
tics record that where formerly we had
one thin, nerve-ridden person to four
normal weight or overweight individ-
uals, now the skinnies outnumber the
fatties in our population.

Nervous tension is not confined to

James Davies massages Wendy
Barrie's neck to relieve strain. Ac-
tresses, as well as office workers
and other modern girls, need to
practice the art of relaxation.

Wendy Barrie shows
Screen land readers
how to relax. Ex-
treme left, neck mas-
sage— you can do it
yourself, for yourself!
Above: if you can't
lie down to relax,
this is the next best
thing. Left, "hang
your head" exercise.

slender people, but they are less able to stand up against
it, because they have no reserve energy.

You can overcome these nerves if you will. You can
learn to relax. You will do it if you'll go to your mirror
when you are feeling "all keyed up" and note the harried
expression of your face, the tenseness of your body, the
unloveliness of the whole reflection.

Do you waste your energy fidgeting around in your
chair? Biting your nails, tapping the
floor with your feet, twisting your
beads, rearranging your dress, playing
with a pencil, tearing a paper or a
match to pieces ? Do the palms of your
hands perspire? All these are sign-
posts reading : "THIS WAY TO A
BREAKDOWN !"

More excitable people become furi-
ous at the slightest thing and want to
fight someone, or burst into tears on
almost no provocation. Watch your-
self if you are one of these people.
The minute you feel yourself "getting
ahead of yourself," force your atten-
«n tion elsewhere. Play a game, tennis,

handball, pingpong, anything that re-

^^J^ quires concentration on something

outside ; take a swim, or go out into
the garden and spade or dig up weeds.
Work off the fury.

If your heart will not stand stren-
uous exercise {Continued on page 86)

for September 1933

"Diamond

in the

Edward Arnold, the big scene-stealer, steps
to lone stardom and tells how he likes it

"Diamond Jim Brady" and "Lillian Russell,"
above — otherwise Edward Arnold and Binnie
Barnes, in the Universal picturization of a
colorful period of Broadway history.

EDWARD ARNOLD came breezing into his dress-
ing-room, where I was waiting for him, with the
same hearty laugh that has endeared him to
screen followers.
"Sure, laughing is my creed," he admitted, giving a
grand illustration of the merry art ; adding, "I've found
that most obstacles in life can be laughed down. Believe
me, troubles can't survive if you grin at them. They just
naturally fold up and fade away. If you can wake up in
the morning and say, 'Life is good,' and find something
to laugh at, the day will be happier."

Always a fine actor, it took Arnold's sensational por-
trayal in "Sadie McKee," with Joan Crawford, to focus
the film world's attention on him. Now, having "arrived,"
applause and adulation are showered upon him as a top-
notch favorite.

"Nearly thirty years of acting, yet in the Crawford
picture I played my first drunk," Eddie told me. "He
was such a likable fellow that I enjoyed playing him and
I laughed my fool head off at every funny thing he did.

"I've had three outstanding successes, 'The Storm' and
'Beyond the Horizon,' on the stage; and 'Sadie McKee'
on the screen. But there were long lulls between these
triumphs.

"Pictures intrigued me several years ago but when I
found I'd have to come to Hollywood to show producers
I was an actor, I decided to continue on the stage.

"Then along came my role of the polite murderer with
Ernest Truex in 'Whistling in the Dark,' which eventu-
ally brought us to the Los Angeles Belasco Theatre. The
morning after the opening, the phones began ringing
with screen offers — and I've been here ever since.

"I find little difference in stage and screen acting. Of
course, a character actor has much more liberty than a
romantic leading man, for we don't have to bother with
camera angles or worry about the curl ' of our hair or
which side of our face looks the best. All we have to do
is to cut loose and visualize our characters into being."

Born in the Lower East Side of New York City,
Arnold now boasts faultless diction and has risen to be
the urbane filcher of scenes. It was at the age of five
that he caught his first glimpse of the theatre when his
uncle, bass fiddler at Tony Pastor's, let the boy sit beside
him in the orchestra pit during a performance. Eddie
recalls it vividly because he cried and no one heard him
above the noise.

At fourteen, between school hours, he was taking an
active part in plays staged at the famous East Side Set-
tlement House ; and at fifteen he became a member of
Ben Greet's Shakespearean troupe.

"By that time," said Arnold, (Continued on page 83)

Maude Cheatham

Reward for hard work
and tremendous talent:
the rich role of Diamond
Jim Brady elevate:- that
splendid trouper, Ed-
ward Arnold, to well
deserved stardom.

SCREENLAND

Here's

Your Roving reporter flashes
news notes about the stars

Weston East

Hollywood !

NOW Shirley Temple is a candidate for
the Mae West treatment ! The cutest
little one may be "withdrawn" from the
over-enthusiastic press for awhile. After
Mae had three hundred interviews in four
months, Paramount decided she'd be com-
pletely killed off by too much publicity if
they didn't sidetrack the writers. So for
nearly a year you couldn't see the lady
any time, if you had quotes on your mind.

The same crisis has been reached in
Shirley's case. Everything that can be
said of her has been thrice-told. The pay-
off almost occurred on a recent occasion
when a persistent woman insisted she was
going to question the Temple on make-up
and beauty problems. Actually, Shirley
has never worn screen paint and she's
never been professionally coiffured.

NO LONGER can the Mission Auto
Camp, at Daly City, on the outskirts
of San Erancisco, boast of the frequent
presence of Bette Davis. Since "Ham"
Nelson, Bette's orchestra-leading husband,
has a permanent job in one of the bay city's
night clubs now, Bette thinks he'll be
happier with genuine home fires. So she's
just been house-hunting with him and
they've found a suitable place. Henceforth,
Bette will not rough it on her between-pic-
tures trips North.

WHEN Gary Cooper determines to
master something he takes his shoes
off and gets down to brass tacks. At least,
that's how he became expert on the guitar.
The school where he studied declares the
lanky Gary bolted himself into a vacant
room for an hour's tussle after each daily
lesson. Someone must have peeked through
the keyhole to have garnered the shoe-re-
moving tidbit !

IF DICK POWELL rates much applause
for his performance in "A Midsummer
Night's Dream," the lad himself is fated for
a hearty surprise. He didn't see how re-
citing extravagant Shakespearian love lines
could possibly be of any value to him. No,
not even with the much-touted Reinhardt
directing in person !

TOE MORRISON has the girl and the
»J house. Soon he hopes to have the ring,
the minister, and the honeymoon. Recently
Joe visited his sweetheart, who resides in
Flint, Michigan. He coyly declines to tell
her name, but admits they've been in love
since they attended high school together. ,
Joe's been so faithful that he has never
dated a Hollywood gal. The new Morrison
mansion in the exclusive Las Feliz district
is destined for his ideal, happy-ever-after
nest.

Paula and her Pa! Fred
Stone, famous stage co-
median, and his daugh-
ter, Paula, both now in
Hollywood
P'

MADGE EVANS was reading one of
those "what the fans think of the
stars" department in a magazine the other
day and was quite shocked to read, "I hate
Madge Evans. I think she is an awful
actress. She ruins every picture for me.
I didn't go to see 'David Copperfield' sim-
ply because she was in it."

Madge is one of those delightful people
who never misses a chance to laugh at her-
self, so she was telling me about it at
luncheon that day, and added, "Well, she
shouldn't have deprived herself of 'David
Copperfield' on account of me. Maybe I
had better write and tell her that I'm only
in it for three minutes."

NOTHING elegant about being Tar-
zan's mate! Maureen O'Sullivan
says so frankly. Just when she was all set
for her first real New York vacation Metro
phoned the news she dreaded. The third
jungle thriller was ready to start! The
Tarzan fantasies take so long to film, and
involve so much mingling with unpleasant
smelling animals — to say nothing of the
drafty . costume ! — that they're positive
nightmares to Maureen. Unfortunately
for her, she's so well identified as Johnny
Weissmuller's forest flame that no one
else can be substituted.

Biking back to
Broadway of the
90's! Here is Bin-
nie Barnes, Eng-
lish charmer,
giving us an au-
thentic picture of
Lillian Russell in a
scene for "Dia-
mond Jim."

JEAN MUIR has discovered that she,
too, has her share of sex-appeal. These
days she's having more fun telling too-
ardent leading men that she isn't that kind
of a girl. And instead of going to pre-
views every night in plain sweaters an I
skirts, she is sporting ultra-feminine party
gowns at the smartest dance rendezvous.

T'S hard to believe but Gertie
says it's so. Ceveral years ago
when she was living in Talladega,
Alabama, the minister went away
cn his vacation and none other
but Gertrude Michael in person
took the pulpit every Sunday
morning for a whole month!

for September 1933

OLD loves make the best friends ! In
Hollywood that's frequently the case,
anyway. Think of Ruth Chatterton, who
were often entertained by Charles Boyer
and Pat Paterson. Once Ruth and Charles
were aflame, they say. But the friendship
of her ex-hubbies, George Brent and Ralph
Forbes, is more remarkable. They recent-
ly portrayed rivals in a picture, and lunched
chummily in the Warner cafe during the
joint assignment. Heather Angel, Ralph's
new wife, has just been awarded a long-
term contract at Radio. "The Three
Musketeers" is her first job — and who
should show up in the supporting cast one
clay but her own Ralph? (He's still a pal
of Ruth's, but Mr. Brent hasn't been as
loyal since Chatterton told him to go ! )

FOR eight years Loretta Young has
worked steadily. The rest of her family
even frolicked around Europe, but the star
never could escape studio schedules. Her
current, lengthy vacation was secretly ar-
ranged to forestall a slip-up. Loretta rented
her lovely home in Bel-Air to Constance
Cummings, parked her sisters in temporary
quarters, and then she and her mother
were off. This time Loretta will see the
world !

IT may be an old gag to you but it was a
brand new laugh to me. Someone asked
a Hollywood tailor what the well-dressed
man will wear in 1936.

"The clothes he bought in 1928," was the
answer.

GEORGE RAFT has been read-
ing all the sob stories about
John Gilbert. Georgie can't work
up a tear. He likes being in the
movies, but he wouldn't feel like
a tragic figure if he had Jack's
fortune. "With his money I could
have a swell time just playing
around. If there's any way we can
switch places, I'm willing!"

That skittish pair, Stan Laurel and Babe
Hardy, go Scottish for one of their
inimitable screen comedies.

L'AMOUR, TOUJOURS, L'AMOUR
DEPT.:

KATHERINE DeMILLE and Eric
Rhodes are on fire. . . . Cary Grant and
Betty Furness are more so, and perhaps this
will pique Virginia Cherrill's interest away
over there in England where she's having
fun. . . . Trust Mae Murray to keep in the
spotlight — she and Slapsie-Maxie Rosen-
bloom have been cooing like mad Michael

Bartlett has been captured by Florence
Rice. ... If Mary Astor would say yes
Johnnie Ryan, socialite catch, would be
glad. . . . Nino Martini has been giving
Astrid Allwyn the Grand Rush of the
Month. . . . Now Pinky Tomlin has got
around to Alice Faye, or is it vice-versa?
. . . That eager young Bill Tannen, in Met-
ro's stock company, has first call on Isabel
Jewell's affections. . . . Since Garbo went
home George Brent has been escorting Jean
Muir, and is she palpitating ! ! . . . Gertrude
Michael and Ida Lupino definitely prefer
directors, and big ones — Rouben Mamou-
lian and Lewis Milestone, respectively. . . .
Fred MacMurray is admirably true to Lilian
Lamonte, a model at Magnin's gown
shoppe. . . . Robert Taylor thinks Irene
Hervey has it all over Metro's more famous
women. . . . That zippy Wendy Barrie has
met her match in kidding Jack Oakie. . . .
Sylvia Sidney's working with her mind on
New York, where Bennett Cerf, publisher,
lives. . . . Mae West and Jim Timoney are
apparently as devoted as when Mae first
tackled Hollywood.

WHEN Mae West appeared in
the Motion Picture Hall of
Fame at the Fair there was quite a
flutter to be sure. An observer
reported that he heard at least ten
women say, "Isn't she tiny! I
expected to see a big woman."
You see, Toots, the camera always
makes one look larger than in
real life.

Custard pies were in season and flew through the air with the greatest of abandon when these Keystone Comedy stars reassembled to make a
modern version of their fun-films. In the group are Chester Conklin, Ben Turpin, Ford Sterling, and the celebrated Keystone Kops. Their
?et at Warners' Studio was the rendezvous for all the stars who could get time off to see the fun.

SCREENLAND

Ardent anglers! Guy Kibibee and his
daughter, Shirley, anticipate a big
catch. Well, here's luck!

JOAN BLONDELL looks upon Hugh
«J Herbert with great respect these days.
Joan has always liked Hugh, but she has
been in so many pictures with him that
she just sort of accepted him as a matter
of course. But the other morning she had
a novel experience. She had a seven o'clock
call at the studio, and six o'clock came but
no Clarence, the first time her chauffeur
had over-slept in four years, and she didn't
have the heart to wake George because he
had a cold. So Joanie just walked down
the hill to Sunset Boulevard and was wait-
ing for the bus, (imagine a movie star
waiting for a bus), when a guy in overalls
and driving a broken-down Ford drove up
and shouted, "Hey, Miss, want a ride?"
Joan was late, and the bus was late, and
the man had a kind face, so Joan jumped
in beside him and asked to be dropped at
the Warners' Sunset Studio.

"You work in pictures ?" the man in-
quired with interest. .

"Yeah," said Joan without much en-
thusiasm, naturally, at six-thirty in the
morning.

"I guess you extras don't have much
fun," the man continued, "long hours and
no pay and being kicked about by those
stuck-up stars. Say, do you know Hugh
Herbert? He makes me laugh — ha, ha,
ha, — say, he's the funniest guy on the
screen."

"Don't you like Joan Blondell?" asked
Joan sort of timidly.

"Yeah, I guess she's all right," he re-
plied, "but that Hugh Herbert gets my
money every time. I don't miss none of his
pictures. He's the funniest guy alive. Say,
Babe, do you think you could get me an
autographed picture of him ? No, I guess
you couldn't. Those big guys don't talk to
extras none, I guess."

In front of the studio Joan thanked him
for the lift and went to her dressing-room
and promptly took a two-inch seam in her
hat-band.

HAT'S Ginger Rogers' phenomenal
success doing to Lew Avers? That's
this month's most exciting Hollywood ques-
tion. When Lew was just a poor, strug-
gling extra he was terribly ambitious. A
year or so of the big money and he be-
came bored' with the whole business of
acting. However, since his marriage the
little woman's fame has increased as rap-
idly as his own box-office popularity has
dropped. Is that fact going to pep him up
again ?

/\T LAST Louise Fazenda has plenty of
l\ space for all the Early California
antiques she has been assiduously collecting.
She went to San Francisco for a bannister
which she fancied as the finishing touch
for the elegant farmhouse she's having
constructed as her new residence. Whether
to cart her stagecoach out to the ranch is
her present problem. She has a genuine
'49 affair which for years was on display
at the Carthay Circle Theatre. Since its
close she has loaned it to the Pasadena
museum.

M0%

Robert Montgomery and his wife arrive
in the east to vacation at their farm —
and then in Europe.

Walter Huston
goes to England
to play the
name part in
"Rhodes, the
Empire Build-
er," thus return-
ing to films after
a long absence.

NO DOUBT you also have commented
on the difference in John Boles. The
handsome singer's acting stiffness has dis-
appeared. There's a reason ! John always
had the idea that Warner Baxter was the
executives' favorite — so when they called
him into the Front Office and informed him
that every opportunity to score was to be
given him he realized they did appreciate
him. See what appreciation does for a
fellow?

DOES a clever girl admit her faults?
Many a Hollywood miss has confessed
right in print. To Kay Francis, just re-
turned from another European holiday,
this is a major mistake. "I put my better
side forward," she maintains. "I didn't
get ahead by foolishly panning myself!"

Bill Powell heard that one about "faint heart never winning fair lady," and doesn't let the
character he's playing in "Escapade" talte Louise Ranier's reticence too seriously in this
interesting romantic scene from the new picture.

for September 1933

MOST men are supposed to forget
wedding' anniversaries after the
honeymoon is over, but not John Monk
Saunders, Fay Wray's writer-husband,
even though he is seven thousand miles
away in London. Last month they had
been married seven years. Fay returned
home from the studio for dinner one night
to discover that the house was a bower
of white flowers from basement to attic.
Each bouquet was marked, "Love from
John." They had been cabled. Love is
grand, but awfully expensive !

Cesar Romero and Sally Eilers smile
twice over a fan letter the postman
just brought in.

BY THE time you read this Dolores Del
Rio and Cedric Gibbons will be on
their way to their first honeymoon since
their marriage five years ago — and leave
it to Dolores, it's a romantic spot — Wai-
kiki, Hawaii. As soon as she finished
"Romance in a Glass House" Dolores put
in a long distance call for Hawaii and
rented that "little grass shack" for a long
and romantic vacation.

SIR GUY STANDING, who has a lead-
ing part in "Annapolis Farewell," the
Paramount picture based on life at the
Naval Academy in Maryland, feels right at
home in all that nautical atmosphere be-
cause he was an officer in the British Navy
during the World War and commanded a
cruiser.

Richard Dix is
another deck-
stroller, here
seen on his way
to co-star with
Madge Evans in
an important
British film.

Joan Blondell and Adolphe Menjou make it plain they think Dick Powell had better stick
to song, in this little scene in which Dick regales them with a trombone solo by way of
relaxation between scenes for "Broadway Gondolier."

Looks like Jackie Cooper is his own
severest critic as he does some practice
on his piano.

AS YOU probably know by now, Norma
. Shearer named her new baby Kath-
erine. Of course Irving Thalberg insisted
upon Norma for its name as soon as he
learned it was a girl, but Norma said that
one Junior in the family was enough and
she intended naming her baby girl after
Katherine Cornell who has long been her
favorite actress. Norma is a most ardent
"fan" of Kit Cornell's and would think
nothing of standing for hours at the stage
door waiting for an autograph. Her great
ambition is to do all the popular Cornell
plays on the screen, and she liked her role
of Elisabeth Barrett Browning in "The
Barretts of Wimpole Street" better than
any she has ever had before. Norma will
do another Cornell role, Juliet, in "Romeo
and Juliet" when she returns to the screen
this fall.

I BET you've said a million times, "If
only I could sing like Bing Crosby."
Well, Bing goes around moaning and
groaning, "If only I could dance like Fred
Astaire." He has been taking tap lessons
for quite some time now and won't be
happy until he gets a chance to strut his
stuff in a picture, so Paramount has finally
said, "Okay, Bing, dance," so in his new
picture, "Two for Tonight," we'll see Mr.
Crosby stepping.

THE recent 20th Century-United Artists
split has been the talk of the town.
Mary Pickford's stage tour was suddenly
halted so she could be in on the important
conferences. Joe Schenck, who has left
U.A. and affiliated the Zanuck organization
with Fox, has Elisabeth Bergner's name
on the dotted line. She's to do "Saint Joan"
as her initial effort.

LIVING a colorless Hollywood life hasn't
- done much for Claire Trevor. Now
that every effort is being made at the Fox
Western Avenue studio to build her into a
big star, Claire herself is co-operating by
endeavoring to dramatize her off-screen
personality. For a girl_ who has never had
a whiff of notoriety, this isn't as simple as
it sounds.

G LEND A FARRELL is sporting the
trickiest gadget of the season. It's a
portable hat! It's a square-crowned tarn,
when worn; but when off, can be folded
into a very neat hand-bag. The last word
for you gals, and sister, count me in, who
only wear hats when making an "entrance."
(Continued on page 72)

SCREENLAND

Calling attention to important
ether events and personalities

Signed for opera! Helen
Oelheim, radio lark.

IT'S EASIER to get on the air if you never had an
hour's experience, than if you can claim a list of
professional achievements from here to there. What's
more, you can become a guest star on a program
that regularly, according to surveys in the radio industry,
is listened to by more people than tune in on the vast
majority of the air stars.

That happy state for the young, and older, too, who
have ambitions to be heard performing their particular
specialty, be it singing or joke-cracking, is all due to the
enterprise of Major Edward Bowes, an old radio friend,
who just a little more than a year ago introduced his
Amateur Hour as a novelty to perk things up a bit at a
local station in which he is interested, and thereby started
a new trend in radio entertainment.

Compared to the stage amateur shows — which, by the
way, were the spring-boards for such current big names
in the theatre as Fannie Brice, Joe Cook, Fred Allen,
Phil Baker, and too many others to list here — the stage
shows of yesteryear were mere horse-and-buggy con-
traptions compared to the nation-wide audience reached
by the radio amateur on the Major Bowes shows.

As a tip to those who may apply for a hearing on the
Bowes amateur shows, we'll let you in on the secret that
is most important in obtaining such a hearing. Of course
those who want to appear on the program must write a
letter of application, telling what they can do, etc.

Now your letter must have one very important ele-
ment, or it will never get past the trained staff that reads
through the tons of letters from applicants. It must indi-
cate sincerity — and this can reveal itself just as clearly

Bringing radio to the
screen! Above, Lyda Ro-
berti, Jack Oakie, George
Burns, and Gracie Allen,
adopt a radio technique
of their own in "The Big
Broadcast of 1935."

The man who made it
possible for untried talent
to have its opportunity
on the air! Right, Major
Edward Bowes, whose
amateur shows started a
new trend in radio.

between the lines of a letter read by a person trained to
the work, as if it were printed in red all over the missive.
If sincerity is lacking, they'll never get around to con-
sidering the other two points — which are suitability of
the claimed specialty for radio, and evidence of some
merit in performing that specialty.

To those who are sincere, and have ability, there are
many doors on which Opportunity can knock at the
Major Bowes parties. Take the recent case of the young
matron, who had had ambitions to sing, but had given
up in despair of getting an (Continued on page 90)

for September 19 5 5

Kay Francis and George Brent teamed
again, with much happier results than de-
veloped from their previous offering, "Liv-
ing on Velvet." This is brisk and entertain-
ing romance seasoned with melodrama.
Kay is a social worker, and George a bridge
builder, so there are many episodes of human
interest as well as the "punchy" drama of
walk-outs, etc., caused by racketeers. An
incredible story, but an entertaining film.

Jane Withers, who was so good at being
"bad" in "Bright Eyes," is a star in her
own right here. While the story, about a
child of the slums who finds her way into
the parlors of the rich, calls for a display of
deliberate, or conscious acting as against
the natural style displayed by Shirley Tem-
ple, little Miss Withers will amaze you with
her abilities. The supporting cast is good,
particularly Jackie Searle. Worth seeing.

Monogram

A worthy follow-up to "Laddie" in the
cycle of Gene Stratton Porter tales of
Nature's noblemen and gentlewomen. Neil
Hamilton is the ailing war veteran who
finds health and love on a bee farm ; Edith
Fellowes is perfect as Little Scout; Betty
Furness, appealing as Molly, and Emma
Dunn, grand as Margaret. Somewhat slow
at getting into the story, but wonderfully
effective in its best moments. Go see it.

TAGGING
the TALKIES

Delight Evans' Reviews
on Pages 52-53

You'll roar, giggle, and chuckle all
through this somewhat different Silly Sym-
phony. Walt Disney puts tongue in cheek
and solves his up-to-date version of a nur-
sery mystery that has baffled generations.
Not for the world would we tell you more
than that. You must go see it for yourself
— which we advise you to do as soon as it
comes within traveling distance of your
home. It's a triumph of music and motion.

It's all in the spirit of good, clean fun —
no striving after "important" screen art
here — and it is amusing enough to be a
welcome bit of entertainment, especially at
this time of year. It's familiar farce about
a girl who can't make up her mind which of
two suitors to marry. But individual act-
ing performances by Evelyn Venable, Rob-
ert Young, Reginald Denny, Frank Craven
and others in the cast will entertain you.

This specializes in suspenseful melodra-
matics ; and the acting of Claude Rains, as
the man who can see into the future, and
Fay Wray, as his wife, plus some tense
situations, make it a picture that has its
exciting moments. It is a somewhat unusual
tale about a vaudeville mind-reader who
actually comes to possess the gift of clair-
voyancy, which leads to charges against
him, and conflict with his wife. It's good.

More about the Government men and
their daring in running down criminals —
this time it's "the Purple Gang," and a bad
lot, too. Joseph Calleia, newcomer to films,
brings a new, velvety-type of "menace"
with him, while Jean Arthur turns in a per-
fectly swell performance. Chester Morris,
Lionel Barrymore and others in a fine cast
will win your applause. A corking good
action film, finely acted and produced.

This is a gay number with Warren Wil-
liam excellent as a race-track bookie who
goes into the insurance racket, even insur-
ing families fearing quintuplets. Claire
Dodd is lovely as the heroine whom he
secretly insures against marriage, only to
fall in love with her himself. Guy Kibbee
has his most hilarious role to date as a
Kentucky colonel who is writing a book
proving that the South won the Civil War.

Buddy Rogers is the star of this British
import, styled in the musical-film formula,
and as such rather modest as to staging in
comparison to the average present-day
musical from Hollywood. Nevertheless,
this is a rather entertaining picture, pleas-
antly telling about a boy and a girl who are
rival band leaders, but in love; so senti-
ment and professional jealously make for
dramatic conflict. June Clyde is the heroine.

One of the best of the long series of
mystery melodramas built around the char-
acter of _ our old friend, Charlie Chan.
Baffling indeed are the strange murders
which take place in Luxor, burial ground
of ancient kings. But Charlie solves them
for you, and holds your attention while he
does it. Warner Oland in the name role,
Pat Paterson, Frank Conroy, and Stepin
Fetchit — supplying comedy — are all good.

Filled with wisecracking dialogue, well
delivered, this story of a feud between re-
porters and a police commissioner is weak
in spots but retains interest to the final
fade-out. Roger Pryor offers the best per-
formance as the reporter who clears up the
mystery and keeps the publisher's daughter,
Heather Angel, out of trouble. Conway
Tearle, Franklin Pangborn, Russell Hop-
ton and George Lewis play important parts.

SCREENLAND

By popular request! We present Nelson Eddy, at
ease at his Beverly Hills home; and, right, in
a portrait made when he first went to Hollywood.

The first six letters receive
prizes of $5.00 each

CRUCIAL ACTING MOMENTS!

In my opinion, most film actresses fail at
one crucial moment — when they meet the
hero for the first time. Instead of the look
of curiosity and dawning interest, one sees
a bland expression or smile which says
"We've met before — at rehearsals." I think
Norma Shearer alone can handle this diffi-
cult moment perfectly.

Miss E. F. Wakeling,
42 Dalmery Road,
London, England.

action, and spoiling
bits!

at least ten amusing

Mrs. Selma Katz,
23 Ellsworth Ave.,
Brockton, Mass.

SILLY CENSORISMS

"The Scarlet Pimpernel," as I saw it in
Boston, was grand, so later I attended the
local showing. And — those dumb, but dumb,
censors had deleted "demned" from Leslie
Howard's numerous recitations of his poem,
"that demned elusive Pimpernell. . . ."
Thus upsetting synchronization of sound and

ALL THE G'S IN GARBO

According to some, Greta Garbo is :
gaunt, gawky, garrulous, grandiose, gaudy,
grouchy, garish, giddy, greedy, grandilo-
quent, grim, glum and gloomy.

Others say, she is : Grecian, grand, great,
gorgeous, gay, girlish, gladsome, gracious,
glamorous, genteel, genuine, guileless, gen-
tle and good.

Gee! What a lot of G's.

Mary Belle Walley,

Butler, N. J.

Salutes

and

Snubs

Calling all stars! Here's
NEWS from your public!

Why the advice to sappy young lovers to
"kiss and make up" that's so prominent in
all their pictures ? My advice to Rogers and
Arliss is to let young love take its course.

George A. Abbate,
630 Mary St.,
Utica, N. Y.

HERE'S TO NELSON EDDY!

Here's to Nelson Eddy — the fair-haired
rival of all "dark and handsome" men on
the screen. Big, blond, and magnificent,
with an unusual personality and glorious
voice — may Eddy sing his way through a
long and brilliant career in the films !

Miriam Peck,
Hartford, Conn.

AND ALSO VERISIMILITUDE!

We librarians are constantly supplying
movie-fan readers, (including ourselves),
with data to verify the authenticity of Hol-
lywood's historians and property men in
regard to minute details in recent historical,
biographical and "classical" pictures.
Rarely do reliable reference sources con-
tradict film presentations. And that, Holly-
wood, is ART.

Helen James,

Box 209,
Denton, Tex.

"COME AND GET IT," GARBO!

Why not star Greta Garbo in an adapta-
tion of one of the best-selling novels of the
day? I mean Edna Ferber's "Come and
Get It." Charlotte, a role to which no one
else could do justice, offers Garbo splendid
opportunity to regain her popularity.

Florence Peer,

School St.,
Woodbridge, N. J.
(Continued on page 97)

ASIDE TO WILL AND GEORGE

Are Will Rogers and George Arliss com-
peting for the mantle of Dorothy Dix ?

Another meeting, and another revelation of the
interesting ideas screen-goers bring up for discus-
sion. For instance: What, in your opinion — yours
too, Hollywood — is the crucial moment that seems
to trip up even our most able screen actresses?
Miss E. F. Wakeling, of London, says it's the
moment when the actress meets the hero for the
first time. Do you agree? Do you think Peggy
Baum, of Santa Monica, Calif., is correct in saying
other actors can learn much about the way to
simulate drowsiness on the screen by studying
Bill Powell's performance in the early scenes of
"Reckless"?

Well, we could go on like this for a whole column
— but read the letters yourself! Then tell us what
you think. Tell us in a letter, or several letters, to
this department. You may win one of the prizes
of five dollars each for the best six letters each
month. Please make your letters brief — fifty words
is the maximum — and please don't send stamps for
their return, because we cannot undertake to re-
turn unused letters. Write now — address your
contribution to: Letter Dept., SCREENLAND, 45
W. 45th St., New York, N. Y.

for September 1935

A Star is Made

Continued from page 25

Thyra Samter Winslow, famed for her graphic etch-
ings of modern life, discovered in Hollywood the
ideal subject for her brilliant talents. The result is this
exciting novel, written expressly for Screenland

The author who "found" her perfect story
while in Hollywood writing a film play
' J for Claudette Colbert.

What a swell boy he was ! Grand-looking.
Slim, with broad shoulders ; and a fine, ir-
regular, dependable face. What a nice
visit she'd have !

Diana did have a nice visit. She adored
Hollywood. It was November, and when
she had left her home the trees were al-
ready bare, the grass brown. Here, roses
were in bloom. The pepper trees were
lovely and green. Tall palm trees added
a tropical touch. For the first time Diana
saw oranges growing.

She saw snowcapped mountains only a
short drive from Hollywood. She saw
little villages that looked as Spanish as if
they were thousands of miles away. She
giggled over the odd advertisements, over
ice-cream stands in the shape of huge
bowls of ice-cream or ice-cream freezers,
chili restaurants made to resemble chili
bowls. She was properly impressed at the
restaurant built like a brown derby, though
she had often seen pictures of it.

She liked Hollywood's smooth streets,
the bright, prosperous-looking shops, the
attractive homes, the tall, oddly built apart-
ment houses, from the dignified Chateau
Elysee, built like a French castle in a large
tropical garden and patronized by all the
prominent movie stars who didn't have
their own homes, to the odd little bungalow
courts, Mexican or Spanish or English,
with tiny, individual cottages. The whole
town seemed a delightful stage setting.

She liked seeing where the stars lived,
on the heights outside of Hollywood or in
gracious Beverly Hills. Houses that were
French provincial or Mediterranean or
Monterey. Big shining cars stood in the
driveways. There were glimmering swim-

ming-pools lined in blue-green tile. Gay
groups in sport clothes were having cool-
ing drinks under shade-trees or gay um-
brellas. Over the whole thing there was
an unbelievable air of luxury and holiday
spirit.

A friend of Michael's took them to visit
a studio and Diana was bewildered, even
while she thought it was simply wonderful.
She saw old-world streets that, a few feet
later turned into the new East. A bit of
Russian stood next to a street in old Flor-
ence. French living-rooms crowded next
to Western bar-rooms. She had lunch in
a table tucked away in one corner of the
commissary, amid girls and men in a gal-
limaufry of gay costumes, all in a curious
yellow make-up.

She went to restaurants and night clubs
where the stars ate and drank and danced.
She loved being with Michael, but she
couldn't keep her eyes off the stars. It
was wonderful, recognizing them. The
girls even more slender than she had
thought they'd be. The men, for the most
part, better looking. Occasionally she got
a shock when a favorite male star seemed
much shorter than she had visualized him
— or when a feminine star seemed a little
less sweet-tempered than her habitual
screen expression had led Diana to suspect.

It was wonderful — but it didn't seem to
Diana very near real life. Life was
Michael and Sara and Bob Rennard, Sara's
young man, and Mr. and Mrs. Stone and
the comfortable, understandable life with
them — the same sort of life Diana led at
home in a small town only a short distance
from New York. Yes, life was Michael.
And hearing Michael say how much he

loved you. And telling Michael you loved
him, too.

"When are we going to get married?"
Michael asked. "We could have one of
those cute little cottages you see on the
hillsides. And I have my car. And in a
year or two you can have a maid . . ."

"I don't know," Diana smiled. "When I
came I wanted to see you at home."

"Now you've seen. Don't tell me you
can't stand the picture.

"I love it," said Diana. She meant it.
A little cottage with Michael — surely that
was enough for any girl. Yet she
hesitated.

"Don't rush me, Michael," she begged.
"We're both so young. "Let's be happy
for a little while the way we are. I'll de-
cide before I leave for home."

"Fine !" said Michael, "I can't help be-
ing the impatient bridegroom. Having our
own home would be better than this."

"Maybe," said Diana, "but I like this,
now."

When Michael had money they went to
the gayer places and danced shoulder to
shoulder with the stars. But most of the
time they went to the movies or to little
cafes which the stars seemed to ignore, or
visited Sara's or Michael's friends, pleasant
young people, who for some astonishing
reason, seemed almost unaware that the
whole movie colony was at their elbow.
It seemed unbelievable to Diana, who was
more thrilled at the Hollywood of the
screen than she dared even to let Michael
know. She felt he'd laugh at her.

And then, one night something hap-
pened, so unreal, so out of the glamorous
world that, to Diana, was Hollywood, that

Reproducing Creative Art
for Screen Settings

THE elaborate phantasy which Fox Films
will blend with modern romance in "Dante's
Inferno" represents a new method and technic
in film production. The scenes visualizing
Dante's poem are to be motion picture replicas
of original paintings conceived and executed by
Willy Pogany, celebrated mural painter and
one of the outstanding creative artists of today.
At right is a reproduction of one of the orig-
inal canvases, which will be brought to life in
as exact detail as studio craft will permit, by
Harry Lachman, director of "Dante's Inferno,"
with Spencer Tracy and Claire Trevor appear-
ing as principals in a cast of prominent players.

SCREENLAND

Jimmy Dunn's palpitation is natural — Arline Judge, left, seems put out a bit,
though Rosina Lawrence smiles in this scene from "Welcome Home."

Michael, also amazed, didn't even laugh.

They were sitting, Diana and Michael
and Sara and Bob, at a little table in an
out-of-the-way restaurant. Three men at a
table nearby watched them closely.

"They think we're in the movies," said
Diana, who looked hard at people when she
thought they were in the movies.

Then one of the men got up, came over
to their table.

"I want to apologize for interrupting
you," he began.

They smiled, nodded for him to go on. He
was a prosperous-looking man of around
fifty, business-like, dignified. Not the type
to "start something" in a public restaurant.

"You're not in motion pictures?" he
asked Diana.

"No," smiled Diana. "I'm — a visiting
fireman."

"That's good," the man said. "May I
offer you a little job, rather unusual — it
may amuse you."

"You want her to be in the movies?"
interrupted Sara.

"Not exactly. But if this young lady
will appear at a dinner party tomorrow
night we'll pay her well."

He turned to Diana. "It's nothing you
could object to. We'll send for you, take
you to the home of a well-known young
woman, you'll be made up there, given a
costume which we hope you'll accept as
your own, and then you'll be taken to a
dinner party. That's all. It will be a
pleasant adventure for you."

"I'd love it !" Diana decided quickly.

Michael was more prudent. He asked
questions. The man gave Michael his card.
"Leon Trauber," it read. Leon Trauber
was an important name in Hollywood.

"You are the Leon Trauber?" asked
Michael.

"Of Triangle Films, if that's what you
mean," said Trauber. "I can't explain
anything more of what I have asked the
young lady to do, but I assure you it will
entail nothing unpleasant. And I shall be
glad to give her a check for one hundred
dollars."

Diana would have gone without payment.
It sounded the most thrilling thing she had
ever done. She gave Trauber her name
and address, arranged the details.

She could hardly sleep that night. The
next day she was as excited as if something
really important were happening to her.

"You act the way I thought you would
when we got married," said Michael.

"Silly," said Diana, "This is just fun for
me. It's a glimpse into a life I never
thought I'd see."

"A short and mysterious glimpse," Mi-
chael said.

The car arrived promptly. Long and
black. Diana snuggled against the grey
broadcloth interior. The fittings were of
gold. Everything was sleek perfection.

The car stopped before a huge house.
A middle-aged woman led the way to a
boudoir done in soft rose taffeta and silver.
Diana had never seen such a lovely room.
A little table held biscuits and sherry. The
woman handed Diana a soft negligee.

"If you'll slip into the negligee," the
woman said. "And we thought you'd like
a bit of sherry before you dressed."

Diana sipped the sherry and wondered
if it were drugged. Why would they want
to drug her? Well, why would they want
her here at all? It was most mysterious.
It was good sherry— and it was not
drugged. "Diana in Movieland" Diana
thought to herself.

A little man with a pointed mustache
and sleek hair appeared, now. He had a
satchel with him. He opened it, spread
trays of make-up around him.

He tied a towel around Diana's hair,
applied fragrant cream and then a founda-
tion cream darker than Diana's skin. She
wished she could see it on her face, but
there were no mirrors in sight. She could
feel eyebrows being drawn higher than her
own. The man finished her face with pat-
tings of soft powder, arranged her hair in
soft waves.

The woman brought in an exquisite gown
of white chiffon trimmed with little silver
stars, slipped it over Diana's head. It
fitted a little too snugly at the waist. Other-
wise it was perfect.

Things moved quickly then. A vanity
was thrust into her hand ; an ermine coat
slipped over her shoulder, for Hollywood
nights are cool. Again she was in the
limousine, her own things in a bundle with
her.

The car stopped, and Trauber and a
young man, named Herrick, got in. An-
other drive and they reached a huge club
house.

A big dinner was in progress. The dining-
room was lit by crystal chandeliers. Guests
were already seated at little tables. The
dais held a long table for the honor guests
and three places were empty.

Everyone applauded when Diana and her
escorts entered.

"Nod and smile," Trauber told Diana.
Mechanically, she smiled.

"It's a great honor to have you with us,"
a beautifully gowned matron greeted Diana.

"I — I love being here," Diana answered.
"Diana in Movieland," indeed !

In an instant she was seated between
Trauber and Herrick, the honor guest of
the evening.

"When they call on you, do you think
you can thank them, just a few words — ■
how glad you are to be here?" Trauber
asked.

"Of course. Only I don't see — "

"You'll find out. Eat your dinner. En-
joy yourself."

The dinner was good. The men agree-
able. This was exciting : this was living !

As the dinner drew to an end Diana
thought to look into the vanity which lay
at her place. Perhaps her face needed
powdering.

She looked into the vanity. She couldn't
be mistaken ! The eyes, slightly turned up
at the corners, the high cheekbones, the
odd exaggerated eyebrows. The face that
looked back at her was not Diana Wells.
It was the face of Claudia Ray, the movie
star !

Hardly knowing what she was doing,
Diana got to her feet.

"What's the matter?" Trauber's voice
was excited but low.

"You didn't tell me," said Diana, "that
I was to — to impersonate someone else."

"For God's sake, don't make a scene,"
Trauber begged.

Herrick put his hand on her arm. "We'll
explain. Please listen," he said.

Diana looked at the sea of faces. And,
as she hesitated, a waiter handed her a
folded paper. A message was written
across one of the dinner menus, "WE
KNOW YOU ARE NOT CLAUDIA
RAY!"

Suddenly Diana laughed. She sat down.
She showed the message to Herrick and
Trauber.

"Now tell me what it's all about," she.
said. "I was going to walk out on you,
but somehow, this is a challenge."

"You're a darling," Trauber said. "The
truth isn't very pretty. But you deserve
knowing it. Claudia Ray's been drinking
again. It's as simple as that. She goes,
well, on bats, occasionally. She went on
one Friday. And now she has a black eye
and is moanin' low and can't be seen."

"And she had to be seen?"

"Yes. You see, this dinner — Hollywood
at its most exclusive. They're none too
sympathetic to the movie element as it is.
And Claudia Ray as guest of honor here
was important to a lot of us."

"When we found she couldn't go," Her-
rick said, "we were pretty desperate."

"Wasn't there anyone else ?"

"There was her stand-in. Who doesn't
look so awfully much like her — and who
isn't discreet," Trauber said. "And when
we saw you in the restaurant — "

"But you didn't tell me the truth !"

"How could I — then? You would have
laughed at me — or talked. I thought I'd
take a chance, tell you just before the in-
troductions."

Diana wasn't angry. She was filled with
a curiously light spirit, more than the one
glass of champagne at dinner could possibly
have given her. This was living ! Imper-
sonating an actress — and getting a note
saying she'd been found out !

"Who wrote the note?" she asked.

"I don't know," said Trauber. "It
worries me."

"I just found out," said Herrick, "and it
worries me more than ever. At the left
table — past the woman in green. Boulder,
of Splendour Films."

"I wish the evening was over," Trauber
said.

It wasn't over. It was time for the
speeches.

Diana thought of something. At school
she'd been clever at imitations. And she
had seen Claudia Ray many times on the
screen. Claudia Ray, with her peculiarly
drawled words, her amusing affectations.
These men had fooled her. But they'd
given her adventure. They depended on

for September 1935

her, now. They didn't expect a great deal.

Diana arose when the chairman intro-
duced her. She smiled at Herrick and
Trauber, who had fear and hope in their
eyes. She smiled at the chairman and the
guests.

"I am so happy to be here," she said.
She heard her voice, trembling at first,
grow stronger. "It is a very real treat to
me," her voice was steady, now, and she
hoped, so hard, she was putting Claudia
Ray's tricks into it, "to be with the people
I want to like me on the screen. It is hard
for us, when we act alone, without an audi-
ence, never knowing who will see — or un-

derstand. To see you here, in a way, to
know you, gives me courage to go on."

She sat down, very weak. Everyone
applauded.

"You were wonderful," said Trauber. "I
can't believe it. You played a swell trick
on me. I — I can't thank you enough."

"Well, let's get out of here first," said
Herrick. "Oh they'll crowd around, ask
questions."

Trauber led the way. Past the guests,
out of the door. A waiter ran after them,
thrust another paper into Diana's hand.
She read it in the car, with Herrick and
Trauber.

"YOU'VE GOT ME GUESSING. IF
YOU AREN'T CLAUDIA RAY
THERE'S A JOB FOR YOU AT
SPLENDOUR FILMS." It was signed,
E. T. BOULDER.

"You don't need to go to Splendour Films
for a job," Trauber said.

"What do you mean?"

"My dear, after what I've seen you do
tonight, do you think I'm going to let you
get away? If you can photograph half as
well as I think you can, you've got a job
with us. A real job. Small parts at first
— but there's no place you can't go."
(To Be Continued)

Diary of a DeMille Crusader

Continued from page 21

weather permitting."

Monday, February 4.

The weather does not permit ! Cold
rain lashes sullenly at the solid walls of
Windsor Castle.

Tuesday, February 5.

More rain. Windsor Castle courtyard
is now a lake !

Thursday, February 7.

Still more rain !

To the studio this afternoon for a fitting
as a monk, then to Stage 8 for a bald-pate
wig to complete my costume.

The company has been at work all week
on this set, described on the "call sheet"
as "the Blacksmith's hut with practical
forge." Here Hercules, (Montague Love),
the smithy, is working on a new sword for
Richard while Blondel, the minstrel, (Alan
Hale), sits nearby mixing twelfth cen-
tury wise-cracks with snatches of song.
The action involves a friendly slugging
match between Hercules and Richard in
the course of which Bloudcl is knocked
into the water trough — the closest approach
to a bath tub in the story ! It is slow going
because every ducking for Blondel necessi-
tates a wait while his costume and wig
dry out.

During the waits between "shots" Alan
Hale sits in a corner hugging his rumpled
bathrobe about himself and discussing his
newest invention with the technical men
on the set. Before embarking on an act-
ing career Hale was a mechanical engineer.
He still devotes his spare time to mechani-
cal research and is now experimenting with
a new type of automobile brake.

On the other side of the set Montagu
Love is busy sketching , a prop-shop man
whose hat is a masterpiece of dilapidation.
Love is an accomplished artist. 1 When he
is not acting he is kept busy illustrating
magazine- stories. As Blacksmith to Rich-
ard his duties in the picture are arduous
and he finds that the best way to find com-
plete rest and relaxation between scenes
is to fall back on profession number two.
This time his artistic endeavors are in-
terrupted by an errand boy bearing a tele-
gram. It is from a . high-school dramatic
class asking his idea of the best schooling
for an actor. He hands me the telegram
with a thoughtful smile. "When I was
a young man the answer to that was
Shakespeare. My activities since I have
been on this picture, however, have altered
my views — now I'd say three years as a
Boy Scout!"

Saturday, February 9.

Today I work again. We are shooting
the French Cathedral scene in which
Philip takes the Crusader's oath from the
Hermit. I am clad in sandals and the
rough brown robes of a Franciscan monk.

The camera is set up at the rear of the

The Browns of Hollywood arrive for a visit in New York! Mr. and Mrs. Joe E.
Brown, with their sons, Joe L, left, and Don, right, register smiles.

cathedral. Behind it director DeMille and
Vic Milner, our trophy-winning camera-
man, take turns at squinting through the
sights at the hundreds of kneeling knights.
Philip kneels on the steps to the altar with
his back to the camera. We monks and
priests face him, surrounding the Hermit
and lending the tacit approval of the church
to his act of administering the Crusader's
oath.

As the slow minutes drag by the knights
groan and curse at the pain occasioned by
their strained positions. They try to shift
weight from one aching joint or muscle
to another. The hot battery of lights
glares on their hugely menacing, barrel
helmets, turning them into "fireless
cookers." DeMille pulls his head from the
dark recesses of the camera box : "That
Hospitaler, the fourth from the front on
the left, straighten your lance and shake
out the pennon — right— now turn your
shield a little more this way — not too
much!" Again his head disappears and
from inside the box comes a stifled roar :
"DON'T ANYONE DARE REMOVE
A HELMET!"

Philip's face becomes a mask of agony.
Five enormous spotlights glare down upon
his upturned face, pulling from it beads of
perspiration that trickle away in little
streams. The heavy ermine cape draped
from his shoulders and cascading over the
steps behind him chokes him ; chain mail
eats into his knees. Heedlessly the scene
drones on.

Suddenly a knight allows a shield to
fall with a deafening clatter. Another fol-

lows. Then a few scattered snickers. Re-
peated shouts of "QUIET" are followed
by a sarcastic reprimand from our direc-
tor: "If any of you strong, husky men
feel weak or dizzy, leave now and keep
going — off the lot — I want only men in
this scene. If you can't take it, I'll let you
go right now and the prop department will
furnish you with a nice little bunch of
posies to take home with you !"

The day slides gradually away, smoth-
ered under a confused babel of sound.
Predominating are the yells of the electri-
cians : "Hit the King with that eighteen —
pull those three down harder on the Hermit
— now light that other twenty-four — pull
that one down hotter on these monks — now
flood 'em all up !"

On the side-lines Harry Wilcoxon, look-
ing strangely anachronistic in a tweed suit
and his long hair, sits with Katherine De
Mille. She is in costume and, if possible,
looking more lovely than ever. It seems
strange to see them chatting in such a
friendly fashion since their roles require
them to be highly disagreeable to one an-
other when before the camera. Harry had
boasted that on his first day off he was
going to the harbor to overhaul his boat
and looks rather shamefaced when asked
by DeMille if this is what he calls a
"sailor's holiday." The fact is that Harry,
being an artist, could not keep himself
away from a set so rich in color and
spectacle as this one !
Thursday, February 21.

Many things have happened in the past
days. Finally the weather cleared and one

SCREENLAND

day I found myself a Knight Templar rid-
ing out of Windsor courtyard, across the
groaning drawbridge and away on Crusade
with hundreds of mounted knights. An-
other time I was a Moslem trader bowing
my head in the dust of the city of Acre as
Saladin, (Ian Keith), rode by on his mag-
nificent white horse with his guards and
drummers — all on white horses. The next
day I was a Saracen "dandy" and was for-
tunate enough to buy a slender, golden-
haired Christian slave girl for practically
nothing !

Yesterday I was a Windsor Castle guard
and was afforded the rare opportunity of
seeing an actor that was unimpressed by
either the anger or the charm of Cecil
DeMille! That actor was a falcon, the
arrogant hunting bird of medieval times
that was as much a part of a knight's equip-
ment as his sword and shield. Harry Wil-
coxon has been working with these fierce
hawks for months so that they might be-
come used to him and perch quietly on his
wrist when needed for a scene. But scenes
involve sun arcs and, in this case, shouting
— for in this one Richard was saying in no
uncertain terms that he had no intention
of marrying that scheming woman, Prin-
cess Alice of France.

The scene was rehearsed with a stuffed
falcon attached to Harry's wrist. Then the
real birds were brought in. That proved
a different matter. At each take a falcon
would escape in the very middle of the
scene and wing its way to some more quiet
and less bright part of the stage. Ten
attempts supplied the set with ten falcons
perched on rafters and other inaccessible
points. The last came to rest on the head
of a statue of a warrior some eight feel tall.
The falconer scrambled to a box and
offered his wrist. A falcon must never be
seized ; it must be "invited to the glove."

DeMille looked on with a tired smile.
Then his eye fell upon a quiet bird perched
serenely amid some spears. "There's a
quiet one. Bring him over !"

Wilcoxon looked twice before making an
observation. "He's quiet, all right, but not
much good for us. It's the stuffed one!"

Today we are encamped outside the city
of Marseilles. From our tents, before
which are stacked lances and halberds, we
can see the swaying masts of the ships that
will transport us to the Holy Land. We
have been desperately hungry but today
there is plenty to eat — even if Richard has
had to agree to marry Princess Berengaria
of Navarre, (Loretta Young), in order to
secure food for us. He has never seen this
Princess and he seems not to worry over
much about the marriage ! He will send
Blondel to the chapel with his sword to go
through the ceremony for him. (A King
can do that — can send his sword in his
stead).

While we soldiers stuff ourselves with
food we attempt to sing a song that we
have been rehearsing spasmodically for
weeks. We still don't know it for at each
rehearsal we were handed a new version.
DeMille looks gloomy and sends us off to a
corner to rehearse ; then he changes both
words and tune once more.

Soon w,e go through the scene again.
We line up for food. Two of my comrades
turn the twelve-hundred-pound steer on the
spit over the blazing barbecue pit. It has
been at rest for some time and one side
sizzles, glistens, drips grease into the spurt-
ing fire. This is the second steer for the
morning. The first one, cooked by pro-
fessionals last night, was so well done that
it fell apart as soon as it was wired to the
spit despite the yards of adhesive tape with
which the resourceful prop men rendered
speedy first-aid. Then a rush order was
sent out for another, freshly butchered.

Suddenly DeMille shouts, stops us in
the middle of the scene. "You!" he cries,
singling out a soldier who is supposed to

Tutta Rolf, another new foreign
actress, and Clive Brook enact this
scene for "The Dressmaker."

be tearing hungrily at a large leg of lamb.
"Why can't you look as though you're
really eating that instead of nibbling at it
like an effete parlor snake? It's been at
least four hours since last you ate, so you
don't have to act at being hungry. Why
can't you make me believe that you're really
enjoying that meat?"

"It's this way," replies the Crusader
making a wry face. "I'm a vegetarian !"

ilonday, February 25.

At last we have finished with the Mar-
seilles camp set where the smoke from the
barbecue pit made our eyes smart and
where the smell of the roasting steer was
becoming ever more pungent !

Today we are embarking for the Holy
Land. The narrow street in Marseilles
through which we push and struggle is
clogged with mounted knights, yeomen, like
myself, crossbowmen, peasants. Beautiful
women lean from mullioned windows and
balconies waving a brave farewell with their
gaily colored kerchiefs.

Windsor courtyard, up an incline at the
end of the street, has undergone a miracu-
lous change. A bulky vessel now hides the
walls and the drawbridge over which we
once rode. The dock in front of this vessel
overflows with activity. Columns of march-
ing men and knights on prancing, nervous
horses go forward side by side. Wagoners
and stout draft horses strain at a fifteen-
ton catapult as it is dragged toward the
ship. One of the men whose job it is to
help it along mops a damp brow between
"takes" and looking at it with a disparaging
eye says, "Imagine hauling a gadget like this
three thousand miles just to throw rocks at
somebody!" He does not realize that the
catapult — or mangonel— was the twelfth
century siege-gun.

In the street behind us King Richard
pauses to flirt with a beautiful maiden on
a balcony. He does not know that she is
really his wife, Berengaria, (Loretta Young
more lovely in medieval garb than ever ! ) .
Blonde! informs him of her identity with
some relish, remembering the incident of the
sword. Richard gallops back to claim her.

This is Loretta's first day with "The
Crusades." For weeks she has been snow-

bound in the High Sierras with another
company. Now that she is finally on the
set DeMille seems unusually cheerful. It is
because he will have to do no more "shoot-
ing out of continuity" — a costly and difficult
procedure made necessary by Loretta's un-
expected and prolonged absence.

She is excited about her part — likes cos-
tume pictures and particularly the costumes
of this period. When Travis Banton comes
out to show her a sketch for her next cos-
tume she is enchanted. She drags him up
to DeMille to say, "C.B., I think this one
is lovely — I can't wait to wear it !" He
smiles indulgently as he adds, "Yes — and
there have been too many moments in the
past month when I wondered if I should
ever have the opportunity to see you wear-
ing it !"

Monday, March 4.

There has been no battle. But today
there is a battlefield strewn with every
macabre evidence of bloody conflict — week
before last this grim field where death now
reigns was the cheery camp outside Mar-
seilles. Now the barbecue pits are gone
and the swaying masts of our ships have
been replaced by a range of dun-colored
hills.

By the eerie, flickering lights of torches
— it is night — Richard and Blondel search
this silent field for the body of Hercules.

Between times, make-up men with half-
gallon jugs of blood and brushes rush here
and there, smearing us — the helpless dead —
with more gore. An assistant director,
efficient George Hippard, rearranges a
scrambled heap of corpses : "Whose leg is
this ?" No answer. It belongs to a dummy
at the bottom of the heap !

In the middle of a "take" Blondel "blows
up." Instead of saying : "I tell you, Rich-
ard, old Hercules is slain," he says, "I tell
you, Richard, old Ironsides is dead !" Dead
men come to , sudden hilarious life. Even
our director laughs !

Tuesday, March 12.

If "variety is the spice of life," we who
are at work on "The Crusades" find our
lives highly seasoned !

Today we are Saracen archers in green
boots, voluminous black or red bloomers,
wide metal belts, metal shoulder guards, full
beards, turbans. From the waist up we are
covered with bolemania — body make-up —
which, despite the assurances of our san-
guine make-up artists, does not come off
easily with soap and water !

We Saracens are perched on the walls of
Acre, (Windsor Castle has had another
face-lifting), watching the Crusader's fleet
sail into the harbor. Below us, suddenly,
there appears a Christian herald in re-
splendent surcoat and cape. With him are
two trumpeters and standard bearers car-
rying the bravely colored gonfalons of all
the Kings of Christendom. This upstart
herald calls upon us to surrender our city.
Our answer is to send an arrow into his
heart.

It does not take us long to dispose of this
Christian errand boy and we are dismissed
early. Before going home, however, we
must be fitted for tomorrow's scene.

Wednesday, March 20.

As a serving man to King Richard I now
have an excellent opportunity not only to
see but to talk to practically all the Kings
of Christendom — all who amount to any-
thing, at least ! We are all on the "Council
of Kings" set on Stage 8 — have been here
a week. Richard and Philip are here;
Leopold of Austria; Hugo of Burgundy ;
grizzled Frederick of Germany; Sverre,
fierce King of the Norsemen; Michael of
Russia; William of Sicily; Nicholas of
Hungary.

Nicholas caused some delay because of
a dispute over his crown. According to
Hungarian tradition the cross on top the
crown has remained bent ever since Stephen
the First bumped his head on a doorway,

for September 19 3 3

knocking it askew. He was a very tall man !
Thus the question arose : would it be more
advisable to be historically correct and in-
spire a lot of letters from naive critics
pointing out the obvious fact that the cross
was crooked — or should history be disre-
garded in this instance and the cross
straightened? DeMille decided against any
deviation from history and bent the cross
himself. To his chagrin when Nicholas
appeared on the set the cross atop his crown
was perfectly straight. Investigation dis-
closed that an observant property man who
knew nothing of the dispute had stayed
over-time to straighten the cross thinking
that he was doing the right thing !

The cross had to be bent once again before
the Kings could get down to the business
at hand. Philip has angered Richard, (who
wants to fight), by inviting Saladin in for
a palaver. Richard, in turn, makes Philip
squirm by bringing in Berengaria and intro-
ducing her as the Queen of England. Things
are not very harmonious and a break be-
tween England and France seems imminent.

It is hard to believe, incidentally, that
Loretta is not really Queen Berengaria in
person. She never studies any lines on
the set, yet she always knows them per-
fectly and speaks them as if they were her
own thoughts and not dialogue written for
her by Harold Lamb. When I commented
on this she admitted that she really was
trying to forget that she was Loretta Young
and become Berengaria. "It's rather trying
for Sally and Mother," she said, "but I
find that it is better for me — especially in
a part such as this which is so far removed
from twentieth century thoughts and emo-
tions— if I forget, insofar as possible, that
I am myself and try to become the person
I am supposed to represent. In this case
it is not so hard on my family since the
Berengaria of this story is sincere, human,
and believable. I can see, however, that
it might not be wise to follow my formula
if, for instance, I were assigned a role such
as that of Rip van Winkle's shrewish wife!"

Now Richard and Saladin are engaged
in a contest. To impress the Sultan of
Islam, Richard cuts the steel handle of a
Saracen mace in half with a single blow of
his sword. Saladin, in turn, startles the
Christian Kings by throwing a silk scarf
in the air and cutting it in half with his
scimitar — a very difficult feat.

Wilcoxon, who is by way of becoming an
inveterate punster, stands on the side-lines
watching as Ian Keith as Saladin makes
several unsuccessful attempts. Finally
Harry can contain himself no longer and
calls out: "Ian — it didn't scimitar work
that time!"

Then the war is really on !

Thursday, March 21.

The Kings are in a dither ! A messenger
has just arrived from England bearing the
news that Richard's brother, John, has
seized the throne and will marry Alice of
France. Richard ignores Philip's threats
and stands by Berengaria, thus rewinning
the love he had almost lost by giving her
that sword treatment !

Being idle, I am told to "stand in" for
the unfortunate messenger who tells Rich-
ard that he is no longer King. As "stand-
in" for the messenger I am choked by
Richard's "stand-in," thrown to the floor
and allowed to lie there with legs doubled
under me and my head and one shoulder on
a step. A long argument then ensues as
to whether it would be better to "shoot"
from there or from there. Meanwhile, prop
men, electricians, actors and even assistant
directors walk over me.

Friday, March 22.

Night work on an exterior set is not
what you'd call fun ! There is a damp chill
about a California night that finds its way
to one's very bones. To offset the physical
discomfort, however, there is a friendliness
and comraderie rarely to be found on any

day-time set. The company seems isolated,
cut off from the outside world. One must
find companionship on the set or not
at all.

Tonight we are a handful of Christian
soldiers before the walls of Acre. Between
the bleak line of our mantlets, (heavy
wooden shields on wheels used by attacking
forces for protection from enemy arrows
when moving up to the walls of a besieged
city), and the massive, turretted walls of
Acre lies a grim no-man's-land where sud-
den death from arrow and spear takes gro-
tesque shape — eloquently expressed in the
dummies of men and horses.

We who live and who are not being used in
the scene at the moment press close to the
glowing salamanders for warmth. Tonight
I am fortunate in that I am an English
guard in red woolen tights, leather jacket
and maroon cloak. Some of my unfortunate
companions are Saracen archers and naked
above the waist.

Tonight Berengaria will venture into this
silent no man's land seeking death in order
to free Richard from a marriage which vil-
lainous Conrad of Montferrat has convinced
her stands in the way of the success of the
Crusade. She will be wounded and picked
up by Saladin, who is disguised in Christian
armor, and taken to Jerusalem to be cared
for. Saladin also loves her.

At the moment she is in the act of walk-
ing between two mantlets when she is
snatched back by an alert guard just as
two steel-tipped arrows whip into the shields
close to her face. Saracen arrows they were
but fired by director DeMille, who is a
crack shot, and another expert bowman. It
is a ticklish job that calls for the most
exact timing and calm nerve. DeMille has
shed his heavy ulster to allow more freedom
of movement. A few rehearsals and the
scene is completed.

At twelve supper is called and we file
through the deserted streets of the lot to
the restaurant when we are served fried
chicken and as much hot coffee as we can
drink. Meals are "on the house" during
night work because restaurants are closed
and one must eat at the studio.

Back to the set again. Berengaria now
eludes the anxious guard and wanders alone
beneath the walls. A live dummy is needed
for the spot where she must fall when hit
by an arrow. I am "it."

A few minutes on the ground convince

me that I have never been so cold. Several
rehearsals are unsuccessful because the
arrow placed in Loretta's shoulder is pulled
out by her costume when she falls. Finally
that difficulty is overcome. We are ready
to shoot. "Don't move — try to hold your
breath — you're right in the camera and the
slightest movement will register." No
sooner does the camera begin to roll than
I want to breathe ; there's a kink in my neck
— I'll have to move; the ground is colder
even than before. I am going to shiver —
my teeth are going to chatter. When I
think I can stand it no longer, that welcome
word, "Cut!" puts a temporary end to my
suffering.

A few more "takes" and I am allowed to
stagger to my feet. A cigarette, a cup of
black coffee, and I am almost warm again !

Saturday, April 6.

Today there are hundreds of us on the
set. Knights carrying crosses and wearing
no arms — many crippled and wounded —
soldiers on crutches, squires, monks, nuns —
we are all on our way to the Holy Sepulcher
in Jerusalem.

Richard has arranged a truce with Sala-
din. Although Saladin still rules Jerusalem,
pilgrims to the Holy Place may come and
go in peace. All but Richard — he may not
enter the gates.

This was arranged last week when Rich-
ard came to Saladin s tent to rescue his wife.
As a Saracen archer I saw what happened.
He found that Berengaria had agreed to
become Salad in's wife in order to save his
life. Saladin has saved him from treachery
at the hands of Montferrat's men and now
Berengaria must keep her promise. With
tears in her eyes she begged Richard to
break his sword and put an end to suffering
and pain. They both knew the sacrifice that
meant, for Richard had vowed that the
sword must stand between them as man
and wife until he placed it on the Tomb
of Christ. Now — he cannot enter the gates.
It is a moment of tragedy for Richard, but
a time of rejoicing for the motley crowd
that marches with heads bloodied but un-
bowed on its way to the Holy Place.

It was noble of Richard and Berengaria
to renounce their love so that we pilgrims
might realize our dreams of going in prayer
to the Holy Place. But what will happen
to them?

Next week we start on the battle scenes —
what will happen to us?

Buddy Rogers, back in Hollywood after a long absence, springs a nifty on
George Barbier and Barbara Kent in this scene from "Old Man Rhythm."

SCREENLAND

time. Nothing really makes a lull in his
restlessness until his wife says, "Stop act-
ing like a butterfly and light some place !"
Then he settles down momentarily, but
not for long.

Marion Davies has a nervous habit you'd
never, never suspect. She stutters definitely
when she gets excited off the screen, though
she never hesitates for a moment over a
syllable when she is speaking her lines
before cameras.

Edward Everett Horton confesses that
he has a hair-raisingly nervous time when
anyone else is driving a car. The strange
part of the matter is that he never has

Do You Bite Your Nails?

Continued from page 23

habit. Jeanette MacDonald twirls one foot
around and around and around most of the
time. Una Merkel crosses one knee over
the other. Then she reverses them. Then
she puts them in the original position.
That goes on and on. Lee Tracy tosses a
half dollar up and down. He got that
habit as part of a characterization in a
picture called "Private Jones." Fred
Keating does the same thing, and is very
adept at it.

Margaret Sullavan is one person who
relies on speed to relieve taut nerves.
Once, so the tale goes, after she had given
an interview to a magazine writer, she tore

Sir Guy Standing, as an old sea dog, encourages Midshipmen Tom Brown and
Richard Cromwell in the action still above from "Annapolis Farewell."

been in an accident. But he lives in de-
spair the whole time someone else is at the
wheel, and wears himself out putting on
imaginary brakes from the back seat.

"I take a positively fiendish delight in
yelling instructions," he admits. "There is
never a quiet moment when I am a pas-
senger. I know it is not done in the best
motoring circles, but that's the way it is."

Norma Shearer's habit of putting her
hands first on her hips and then on her
hair is well-known to all observing fans.
An interesting angle to her consciousness
of her hands is the fact that her maid al-
ways has two bowls of water on the set
for her use. They are just ordinary yel-
low mixing bowls such as are found in
every kitchen. One holds soapy water.
The other is for rinsing. La Shearer
washes her hands innumerable times during
the day in them.

Douglass Montgomery flies for his make-
up kit the moment he has a little time. His
make-up may have been put on five min-
utes before, but some nervous compulsion
drives him back to examine it.

Otto Kruger whittles. He makes the
most elaborate little carved castles with
rooms and corridors, turrets and battle-
ments complete.

Constance Bennett has the radio going
continually in her dressing-room. Irene
Dunne used to twist her handkerchief, but
"refused to be known as the handkerchief-
twisting actress," and cured herself of the

for the airport in a fast car, took a plane
for Chicago, and sat for six hours in the
waiting-room. Then she took the next
plane back, nerves under full control.

Why does Mae West shift her weight
from one foot to another? Why does
Lionel Barrymore use his hands in that
peculiar, blind, batty fashion? Why does
Greta Garbo pace up and down, up and
down, while the cameras are being made
ready ?

Why does one person drum with his
fingers on a table while he is waiting
for a taxi, while another, who may be
in the same state of mind and even wait-
ing for the same cab, twist the ring on
his finger?

Do those habits reveal secret traits to
the eyes of a psychiatrist? Finally, when
I was drumming my fingers, swinging my
feet, breaking up matches and tearing up
paper at such a rate that my family and
friends began to avoid me, I sought out Dr.
L. van Horn Gerdine, an authority on why
people do the things they do.

"You know," he said with a grin,
"scratching is a pleasant sensation !"

I stared at him in astonishment. Was
the eminent doctor having his little joke?

He elaborated on his theme. Everyone
has habits, he says, and not nine people out
of ten realize how many unconscious man-
nerisms they have or what they are.

Many habits have their origin in some
momentary discomfort, he says. For in-

stance, a cheek, chapped by wind or ir-
ritated by shaving, is comforted by the
touch of a cool hand. Long after the effect
of the weather or the razor has passed, the
hand may seek the cheek. The gesture is
associated in the subconscious mind with
pleasure or relief from discomfort, and so
a habit is established.

Dr. Gerdine has noticed that many
women and a good many men make a
habit of raising the hands to the hair every
few minutes, give it a light ineffectual pat,
and then repeat the gesture in a few min-
utes, even if not so much as a single hair
has been disarranged.

That gesture, he says, means that the
person who employs it was, at some time
in the past, not quite sure of his appear-
ance. It might easily be acquired by a
woman whose hair comes out of curl on
damp days. If wet weather lasts long
enough, she is apt to retain the habit in
the sunniest of warm weather. The same
holds true of those men who smooth their
shining locks even though every hair has
just been put in place. The gesture prob-
ably dates back to boyhood when an ar-
bitrary top-knot refused to stay put, and
there is an apprehensive part of the sub-
conscious mind still worrying about it.
But that is only half of the story of why
we have habits, says Dr. Gerdine.

"The human body is built for activity,"
he says. "Restlessness is natural for the
whole human organism. That is why you
will notice that the man who earns his
living by hard, physical exertion has, as a
rule, far fewer habits than those people
who lead sedentary lives or those people
of nervous temperaments."

Actors are highly nervous people. You
are not apt to see a ditch-digger going
into a spontaneous tap-dance, or whittling,
or walking up and down during his noon
hour. He has expended his physical en-
ergies in his morning's labors, and his
nerves are not keyed up by the challenge
of something new which his work may
bring during the afternoon.

"Is there no particular, individual mean-
ing," I asked the doctor, "in the tearing of
bits of paper or the clicking of finger-
nails ?"

"None, except that every person on earth
is a bundle of habits," he said. "There
is no such thing as a completely individual
person. Imitation is almost a universal
law, and the individuality of the average
person is made up during youth by un-
conscious imitation. Habits may start in
any one of a thousand different ways, and
it is impossible to classify them exactly.
One person may have picked up the habit
of waving his hands from one of his
parents in early youth. Another person
may do the same thing through a de-
sire to reinforce one motor activity by
another.

"For example, a person becoming ex-
cited during an argument will emphasize
what he has to say by vigorous gestures.
If he wishes to reinforce his words even
more emphatically, he frequently will stand
and walk during his argument. It is the
old law working. The human body is
made for activity, and even the smallest
of gestures is a safety valve of a kind,
releasing or strengthening energies."

To end all this on an optimistic note,
Dr. Gerdine also said that it's a good thing
that adults do bite pencil tops and pull the
lobes of their ears. Otherwise, they would
be swinging on trees and standing on their'
heads and indulging in all the other nerve
releases that belong — or should belong —
only to childhood.

for September 1933

It's Not Always Their "Dear" Public

signed autographs and tried to ignore it.
It was like trying to ignore a red flag on a
bull. The only thing that made it possible
for me to stay was the fact that not a single
person about the booth laughed! If she did
it for a gag, or to embarrass me publicly,
it failed so far as the people about the booth
were concerned. The real fans were so con-
siderate in not adding ridicule to injury that
they alone made it possible for me to re-
main and "take it.' "

"Gene's right — there is usually one
heckler, at least, in every 'admiring-
throng,' " corroborated Clark Gable when
he was asked about any experiences he
might have had in Public versus Star. "The
point, of course, is to try to ignore him, her,
or it, and not lose your temper. That's a
lot easier to say than to do, but it is the
only way. To answer back, or to become
obviously irritated, always amuses your
'admirers,' and the first thing you know,
where there was one heckler before there
will be a dozen.

"It's the darndest experience in the world
to find yourself signing autograph books,
beaming your most pleasant smile on the
little circle in the foreground, and pretend-
ing totally to ignore a loud, brassy voice
in the background demanding to know how
a funny-looking guy like you ever got on
the screen in the first place.

"The funniest, and at the same time, the
most embarrassing experience I ever had
with a stranger took place in the publicity
department right here at the studio. I hap-
pened to drop into Kay Mulvey's office one
day and a woman interviewer was sitting
there chatting. Miss Mulvey introduced
us, and the lady started in immediately on
how much she always enjoyed my screen
roles, etc., etc., etc. — the same old story.
After about ten minutes of this ego-building
flattery I bowed myself to the door but not
through it. That's the catch! The lady's
back was turned and she thought I had de-
parted. As it happened I had stopped to
light a cigarette.

"Imagine my surprise to hear the same
voice that had just flattered me into think-
ing I should ask for a raise in salary actu-
ally snort as she said to Kay : 'My dear, it
must be an awful strain to have to sit and
flatter these hams all day long.' Kay's face
was something glorious to behold — you see
she was facing the door and she could see
me standing there ! But before anything
could be done, the lady launched into an
attack on how very much she particularly
disliked me on the screen, and how in
heaven's name did I get where I was?

"I suppose I could have been the perfect
little gentleman and gone on my way. But
I just had to poke my head around the
corner again! The effect was so swell I
couldn't bear to tear myself away. So I
just sat down and chatted on for about
twenty minutes longer — and believe me, I
did all the chatting. My former admirer
couldn't seem to get her mouth closed !"

Kay Francis says that the most terrifying
thing in the world, next to lapsed contracts
and wrinkles, is to be cornered, (trapped,
really), while waiting for a taxi or for a
purchase in a department store, and be
recognized by a couple of ladies who pro-
ceed to "talk you over."

"You might be deaf, or a statue or some-
thing stuffed," Kay laughed, helplessly,
"for all the attention the ladies pay to what
emotions you may be feeling.

"My last experience of this kind took
place in front of a restaurant where I was
waiting for a cab after lunching with
friends.

"One of the women nudged her corn-

Continued from page 13

panion and said : 'There's that tall brunette
in pitchers — what's her name?' This,
mind you, practically in my ear and right
under my nose. The other one replied :
'Kay Francis, and they say she's been mar-
ried six times.' Then they both agreed the
many divorces in the film colony were noth-
ing short of 'awful !' I thought that cab
never would come! On and on went the
good women about the most personal
things in my life. They even made up
their minds whether they liked the clothes
I was wearing ! By the time I found refuge
in that taxi I didn't know whether to laugh
or cry!"

Jean Harlow is a crowd magnet every-
where she goes, and even shock-proof Agua
Caliente is no exception. But on Jean's last
visit there she created one of those sensa-
tions you just love to forget, thanks to a
lady tourist and her salesman husband.

Jean, as usual, was having herself one
grand time at the dice table in the Casino.
(Incidentally she has the little galloping
ivories hypnotized and if you're ever lucky
enough to get at a dice table with Jean
you're liable to come out with the where-
withal for a new hat or suit if you just string
along with her. But that's off the subject).
The table was jammed not only with players
but with admiring fans and onlookers,
equally impressed by Jean's platinum hair
and her almost uncanny luck.

A very small, timid looking little man
standing next to Jean had been "riding
with her" and, of course, winning just as
she was. In a little while, Jean had had
enough of it and was about to cash in her
winnings, when the little man turned, pulled
out an envelope, and handed Jean a pencil.

"I sure am grateful to you, Miss Harlow,
for all this money I've won on your luck-^
I wonder if you'd autograph this envelope
here?"

Jean smiled and reached for the pencil —
but she never got it. A very large, angry
hand slapped it to the floor and a very large,
irate lady wedged herself between Jean and
her admirer.

"Don't be giving my husband your tele-
phone number, you Platinum Blonde!" the
woman shrieked in the tones of a fishwife.
"You leave my husband alone!"

"A fine scene it was," said Jean, shaking

Notable newcomer to Hollywood!
Warren Hull, stage and radio star,
recently signed by Warners.

her head. "I was never so embarrassed in
my life, and the poor little man almost
fainted, he was so humiliated. Everyone in
the place was doubled up with mirth, and, of
course, the woman had made an awful fool
of herself. But even that didn't save my
feelings much — my evening was ruined !"

To this day, Mrs. George Temple has
not recovered from the shocking event that
took place in a local department store just
before Christmas when she had taken little
Shirley "down town" to see the beautiful
tree in the toy department. Of course,
lovely little Shirley was immediately rec-
ognized and almost stampeded by the
avalanche of women who descended on her
goo-ing and gurgling. The poor child was
bewildered, but she was smiling and trying
to be sweet though jostled and pulled and
jerked as her mother tried to lead her to
safety through the mob. Suddenly Mrs.
Temple let out a shriek that was heard over
the entire floor — and then some. For one of
the women had jerked off Shirley's hat and
was clipping off her curls for souvenirs !

"This almost unbelievable happening,"
explanied Mrs. Temple, "has, of course;
made it impossible for me ever to take
Shirley to see the Christmas trees or the
Easter windows or any of those other
'downtown' treats children love so much. It
is too bad, because this preposterous thing-
would probably never happen again in a
million years. It is not at all indicative of
the feeling I know true fans have for my
little girl. The sweet letters they write her
and the thoughtful messages they send have
proved that point. But still I feel I just
can't take the chance of such a terrible thing
again !"

Madge Evans, fortunately, is a very even-
tempered and amiable young woman, so
when she is "heckled" she can always smile
and take it, even to the extent of contracting
writer's cramp autographing albums. Even
her patience was taxed to the limit, though
when she was besieged on the boat to Eng-
land. Her smile wore a little thin before
the crowd finally left her.

Fred MacMurray says that if there is any
benefit to be derived from a heckler in a
crowd, or an unflattering remark, it is in
puncturing an inflated Ego !

_ "I don't mean outrageous things like clip-
ping Shirley Temple's curls," the new rage
of Paramount went on to explain. "But
sometimes it is pretty good for us to hear
an off -note in the chorus of approval. Other-
wise we might begin to believe what the
press agents wrote about us." He laughed
as he remembered a very recent little Water-
loo of his own :

Soon after "The Gilded Lily" was re-
leased and the reviews started flooding the
prints all about what a white hope of the
screen Fred was, he invited a young lady to
be his guest at the opening of a swanky new-
cafe in Hollywood.

As usual the street was jammed, and
Fred's taxi was making very poor time
through the crowd that had gathered to see
the celebs. A couple of young girls had
broken the police lines and were running
from car to car, peering in, commenting en-
thusiastically on Marlene Dietrich, Norma
Shearer, Clark Gable, Robert Montgomery
and other occupants of motors in front of
Fred. Finally they got to his car. They
poked in their heads :

"Oh, come on," one of them yelled to the
other. "This is nobody!"

"Which was certainly a darn honest re-
action !" chuckled Fred.

There's certainly one thing about it — if
the public isn't always dear, it's certainly
never dull !

SCREENLAND

Here's Hollywood

Continued from page 61

Fellow baseball fans and film players talk it over! Joe E. Brown and June Travis, nee
Grabiner, whose father is a baseball magnate, and who makes her debut in "Alibi
Ike." June adopted the name Joe suggested as her nom de screen.

EVEN Hollywood mothers have to dis-
cipline their noted off-spring occasion-
ally. Anita Louise's mama called in Tom
Brown's mater to assist her. It seems that
when Mrs. Fremault arrived home at eleven
one evening Anita had stepped out without
leaving word as to where and as to when
she'd be back. The maid, though, reported
that Anita had put on her best duds and
gone out with Tommy. Instead of "wait-
ing up" officially, Mrs. Fremault and Mrs.
Brown tucked themselves in and never let
on when Tom brought Anita home.

Early next morning the two mothers
crept out. No messages were left. As the
day passed Anita and Tom began worry-
ing and both were frantic when the parental
prodigals finally popped in after midnight.

EVIDENTLY Garbo has much more re-
spect for the European gentlemen of
the press. She has been speaking to them,
and graciously. The Hollywood reporters
are left holding the bag — as usual. All
they have discovered is that when she comes
back she'll function under another tre-
mendous salary.

STELLAR vacations occur whenever film
schedules permit. A few of the players
have managed to do some extensive sum-
mer traveling, however. Robert Mont-
gomery is doing Europe — and do you
suppose he'll drop in on Greta ? Mae West
has gone to sea — maybe she's giving the
sailing lads the eagle eye for her next epic !
And Shirley Temple is enjoying a whole
month's frolic at a Southern California
mountain camp.

EVIDENTLY all actresses are kiddies
behind the make-up. Joan Blondell's
electric train splurge is the latest indication.
She has spent a small fortune installing a
"gorgeous" railroad in the basement of her
home. It's supposedly for the baby, but can
a year-old tot get the most out of all those
pushbuttons? And just to make the scene
more complete Joan has been personally
manufacturing little figurines to park at
logical spots. She uses clay for some,
cloth and stuffing for others.

IF A movie star sailed on anything ex-
cept the Normandie these days that
would be news ! Kay Francis, Richard
Dix and others have been passengers.
Anyway, the latest member of our little
Hollywood colony to make the Normandie
was Edward Everett Horton, who finished
his part in "The Little Big Shot" one
afternoon and the next afternoon was
panting breathlessly up the gangplank of
the latest sea snob on his way to make
a picture in England. By the way, Jack
Kirkland's description of the Normandie to
his Hollywood pals is about the best I've
heard. Says Jack, "It's the first time an
M-G-M set ever went to sea."

QUITE an odd co-incidence about "The
Broadway Melody of 1935." Eleanor
Powell, the dancing lead, was playing
second fiddle to Anita Page, sensation of
the original "Broadway Melody," only
eighteen month ago. When Anita left
Metro she toured the Eastern picture
palaces, and Eleanor was in her act.

The vivacious Anita, meanwhile, is again
creating a stir in the movie colony. Her
golden blonde beauty is causing havoc in
male hearts as of yore. For a year Anita
forgot all about Hollywood. Now, her in-
terest in Nacio Herb Brown chalked up as
a mistake, she is resuming screen work.
Twenty-three is too young to retire.

Stepping the Astaire Way to Film Fame

Continued from page 29

couldn't help stealing a glance at them now
and then, marveling to see how much they
looked like anyone else's legs.

"I had two good reasons for doubt. One
was my face," he remarked equably, "which
didn't matter so much on the stage, where
they don't feature close-ups. The other
was my dancing."

My brows went up in bewilderment. "I
expected to give that up when I went to
the screen, and go in for comedy." I was
beginning to wonder what kind of gag this
was, but I held my peace. "And I couldn't
help feeling," he concluded, "that it might
be a case of Hamlet without the ghost."

But this was too much, and I babbled
for explanations. "It's perfectly simple,"
he shrugged. "I just didn't think they'd
care for much dancing in the movies.

"We'll do about one number, maybe, in
a picture," he suggested to the studio when
he first signed for films. "People won't
stand for more than that."

And diverting though this may sound

today, it was sober seriousness then. As-
taire was scheduled to enter the movies as
a light comedian, with a little incidental
dancing on the side — if people could be
persuaded to stand for it.

The offer came at a time when change
was in the air for the dancing Astaires.
Fred's sister Adele, with whom his career
was inseparably linked, had retired from
the stage to become Lady Charles Caven-
dish, thus marking finis to a brilliant team
or partnership. "Do me a favor," begged
Mr. Astaire, "and don't call it a team.
Sounds like a couple of horses."

One chapter ended, he was eager to
launch the next. "I made up my mind," he
said with a touch of grimness, "that I
would do something alone, before anyone
had a chance to start wondering what 'the
poor chap was going to do all by himself.' "

The stage show, "The Gay Divorce,"
presented itself opportunely. It was differ-
ent in type from anything he'd done with
his sister, different in his own part, differ-

ent in the part of the girl to be played by
Claire Luce. It seemed the right vehicle
for a solo flight and, hardly waiting to
catch his breath, he took off.

I was in New York when the show
opened. I remember the reviews — for the
play; so-so; for the star: hats flung in
the air. If anyone had been wondering
what "the poor chap was going to do by
himself," his mind was set at rest that
night. The poor chap was going to do all
right by himself.

So was the play, for that matter. De-
spite the misgivings of the critics, it ran
for ten months. It crossed the sea with
Astaire, and together they captured London
as he and Adele had captured it years be-
fore. They were destined — he and the play
— to a still more dazzling partnership. It
was during the New York run that Astaire
was asked by an RKO scout to make a
screen test.

Skeptically he agreed. Having seen the
test he was no longer skeptical. He knew.

for September 1935

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If you don't think two amusing chaps like Edward Everett Horton and
Fred Astaire can get hard boiled, look at this scene from "Top Hat."

"I took one good look," he told me, "and
said goodbye to my movie career."

But he reckoned without his host. As it
turned out, he was due for a closer ac-
quaintanceship. Instead of the heavy
silence he'd been expecting, a bid arrived.
RKO wanted him for "Flying Down to
Rio."

He had three months between the end of
his New York and the beginning of his
London engagement. He arrived in Holly-
wood without any ballyhoo, and made his
first picture with less. "I wanted to sneak
in on gumshoes," he explained. "Then if I
made good, I'd know it was because the
public liked what I was doing. If not, I
could just sneak out again. I didn't want
to be advertised, and then maybe turn out
a big", noisy failure. If I was going to be
a failure, I preferred being a quiet one."

Strictly speaking, "Flying Down to Rio"
was not his first picture. Production on
that film was held up and, while he waited,
M-G-M asked him to do some numbers
with Joan Crawford in "Dancing Lady."

"I jumped at the chance," he said, "first,
because I thought it would be fun to work
with Joan ; and second, because I knew it
would be to my advantage to get myself in
front of a film before doing what was to
be — for me — a more important picture at
RKO. And I'd like to go on record as
saying that my experience at Metro was
one of the most enjoyable I ever had. I've
heard it rumored that they had me and let
me go. That's not the case. Metro never
had me except on loan. I signed with
RKO, and Metro was kind enough to ask
me to dance with Joan Crawford at a time
when I didn't mean a thing to the movie
public. I've heard it rumored too that I
wasn't treated right over there, that they
cut out some of my numbers and so on.
Which — " he repeated quietly, but with
biting emphasis, "is also not the case. The
studio wanted me to do a second number,
but I didn't have time. Miss Crawford
went out of her way to help me. And hav-
ing Clark Gable introduce me on the screen
was the best break they could have given
me. There were millions of fans who
didn't know me from Adam till Gable said
to, Joan : 'There's Fred Astaire over there.
Would you like to run through that number
with him?' And I couldn't help hoping,"
he smiled, his momentary annoyance for-
gotten, "that if they thought Clark Gable
considered me worth a look, maybe they
would too."

Apparently they did. Because even his
brief appearance in "Dancing Lady" brought

letters, begging for more. It was "Flying
Down to Rio," however, that precipitated
the deluge. Though if he'd had his way
about it, you'd never have seen Astaire in
that picture. "Please let me go home," he
pleaded with producer Pandro Berman
after seeing the first day's rushes. "Please
put somebody else in, and let me go home."

But Pan Berman' s experience with jittery
newcomers was large and understanding.
"Listen," he said with reassuring serenity,
"you do the dancing and I'll do the worry-
ing— as soon as there's something to worry
about."

And don't think for a moment there was
anything but the most passionate sincerity
in Astaire's plea. Try meeting yourself in
the movies for the first time, and see what
it does to you. Though you're an Adonis
for looks and a Narcissus for self-admira-
tion, I'll wager you'll squirm. "Even today,"
says Astaire, "I see the rushes and get
sick. My feet look big and my pants look
short, and I sit there wondering how I ever
managed to get myself into a position that
only a mother could love."

Working under pressure and working
till the last minute, he had literally to fly
to New York for the steamer that would get
him to London in time for rehearsals with
the British company of his stage show,
"The Gay Divorce." He left in a fatalistic
mood, dissatisfied with the job he'd done,
discounting the enthusiasm of others, but —
all that lay behind him. Ahead of him was
London and "The Gay Divorce." He'd
had his fling at the movies, he'd done his
best in the brief time given him. The rest
was on the knees of the gods.

"The Gay Divorce" was a smash stage
hit in London. The motion picture, "Flying
Down to Rio," was a smash hit here. The
picture was held three weeks at Radio City,
Carioca swept the country, RKO's mailbags
were stuffed with letters divided between
rapture and protest. They cried: "Lord,
what a dancer!" and they cried: "Why in
heaven's name don't you give him more
dancing to do?"

When these stories reached the ears of
Astaire, he flatly refused at first to believe
them. Convinced at last, he opened his
eyes in amazement. "Gosh," he said to
himself, "if they like that dance, what'll
they say if I really do some decent dancing
on the screen ?"

"Because," he explained to me, "I honest-
ly thought the Carioca dance was awful.
I'd done it in such a hurry, and I felt rot-
ten about not having done better by that
very grand tune."

for September 19 3 3

Five... Going on Two

The DIONNE QUINTUPLETS, now safely pasi that perilous first year

75
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SCREENLAND

As you know, Astaire is no mere dancer
of other people's steps. He has taken no
lessons from anyone since he was eight,
and his dances a:-e the original product of
his own brain and imagination — creative
artistry as surely as that of the painter's
brush or the writer's pen. And "feeling
rotten," "suffering like hell" is the penalty
he — like every honest creator — must pay,
who struggles and agonizes toward some
ideal perfection impossible of achievement
on this imperfect earth. The world's ap-
proval is gratifying. But what he strives
for is the approval of that far more ex-
acting inward monitor which is never satis-
fied.

Not that he'd use such high-sounding
words about his work. But the point is the
same.

"When I hear a tune," he said, "I sort

of get an idea how I'd like to see it danced,
and then play around with it. Fitting the
dance into the story is the hardest job of
all — getting in and out without giving the
effect of a sore thumb, without practically
saying to the audience : 'Well, here's where
we'll stick in a dance and here's where we'll
stop.' The next hardest thing, of course,
is the idea itself. Usually there's only one
right way to do a dance. You could have
danced Night and Day, for example, a
dozen different ways, but there's still only
one right way. And even though I find
what seems to me the right way, I've never
yet completely satisfied myself. I see the
rushes once and I think : 'Yes, it's all
right.' I see them a second time and I
think : 'It's a false alarm.' I can't see any-
thing but the flaws. I've never yet done a
picture without going to the studio heads

and begging them to retake at least one of
the dance scenes."

The answer to which request is in-
variably an explosive. "You're crazy. It's
swell."

And that too is the answer of millions —
who needed no persuasion to sit through
Fred Astaire's dancing, but recognized a
master when they saw one. As a comedian,
he makes them feel good — they like him.
As a dancer, he does more. The moment
he begins to dance, he's no longer simply
Fred Astaire, but Fred Astaire plus a gift
that sets him apart. His flair may be for
comedy, not romance. But if romance
means the power to stir people's hearts,
quicken their pulses, fire their imaginations
through some form of heauty, then Fred
Astaire, dancing, is one of the most ro-
mantic figures in the world.

There's No Girl We'd Rather Sock

are between pictures, since they travel in
different social circles. Each has his own
group of friends. But when they are back
together in a picture, it is like a friendly
reunion.

The same holds true with Wally. Like
always calls to like. Wally, Clark, and
Jean are real people and they understand
and enjoy each other's company. Wally
is really a senior edition of Clark. A man's
man in every sense of the word, but en-
tirely lovable and understanding. His atti-
tude towards Jean is distinctly paternal.
And he approves of her both as a girl and
as an actress. Wally is slower-moving
and thinking than Clark, but he shares the
same likes and dislikes. He hates crowds
and likes nothing better than hunting. He
and Clark sometimes hunt together. Their
main point of difference is in their ideas
about transportation. Clark prefers a high-
powered car and an open road, whereas
Wally chooses the sky and a good plane.

Wally was a sort of godfather to both
Clark and Jean in "The Secret Six," the
first picture in which the three appeared
together. This was the first important
picture for M-G-M for both Clark and
Jean and marked the real beginning of their
screen careers. Jean had won fame for her
role in "Hell's Angels" but it was her work
in this first picture with Clark and Wally
that stamped her as an actress.

In the beginning, she was shy and self-
conscious from the fan reaction she had
received from "Hell's Angels." She
wanted a chance to prove that she could
act, as well as look seductive. A target
for writers looking for sensational angles
to their stories, she was casting about to
find her true bearings in the whirlpool of
Hollywood. Wally and Clark were good
for her at this time. They helped to en-
courage and strengthen her belief in her-
self.

Clark was in the same boat at the time.
Over-night, he had become a sensation in
much the same way Jean had. He wasn't
fooled by the adulation and attention. He
had known the other side of the story be-
fore fame came to him. But he wanted to
keep his chance safe ; to make the most of
his new opportunity. He respected Wally's
larger experience and knowledge and lis-
tened to his pithy advice.

It cannot be denied that Wally had a
lot to do with the firm planting of Clark's
feet in the way that he has gone. A way
that has steered him from the mistakes and
weaknesses that are common to those who
win fame on the screen; and which, too

Continued from page 31

Everett Marshall, famous baritone
of radio and stage, is soon to make
his bow on the screen.

often, has spelled "exit," the saddest word
in the Hollywood dictionary. Clark says
he owes a lot of his good fortune to luck
and perhaps he does. No one can deny
he has been lucky. He has stood the acid
test of four years of fame. He has gone
steadily on and up, without deviating in
any way from his path. He has won and
held the top spot on the screen. Married
to charming Rhea Langham, he has man-
aged to keep his marriage safe. To date,
there apparently has not been a single fly
in his ointment.

By comparison, Wally has been notori-
ously unlucky in every way. But he has
taken it on the chin. He has come back
again and again from the bottom, where
fate has recurrently tossed him. Invest-
ments have turned out badly. Banks in
which he had his holdings have failed. His
wife's life was despaired of, until recently.
His plane crashed and his house burned
several years ago. But Wally has stood
by his guns, uncomplainingly, and has gone
on again.

Jean, too, has had her share of trouble.
One of the kindest, realist girls in the

whole colony, her every move has been
questioned and criticized. It was during
the making of "Red Dust" that Paul Bern's
tragic death occurred. It was then that
she displayed the courage that makes her
screen roles convincing. She insisted on
going back to work two days after the sad
occurrence. She knew that she was laying
herself open to criticism by doing so, but
she knew also that there were many extras
being kept from needed work by the lay-
off. She knew that work would help her
to get hold of herself. She knew, more-
over, that she had a stanch friend in Clark,
who would help her carry on. There
have never been words between them
about it, but Clark still applauds what she
did then.

"She is a darned good sport!" he says
often, and feelingly. And, in his language,
it is the highest compliment he can possibly
give her.

When the hardest scene she has ever
made was finished— the one in which Wally
manhandles her in "China Seas" — Jean
walked off the set without complaining.
But from the look in his eyes, I know that
Clark didn't approve of the punishment
meted out to his little screen pal.

It doesn't seem quite right that such a
mite of a girl should be knocked around
to provide a thrill for the screen. A thrill
that goes around the world and back before
it is lost.

For when Clark and Wally sock Jean,
every woman in the audience gets a vicari-
ous thrill from that sock. For the moment,
they are on the receiving end of the rough,
tough hero's attention. Between-the-sexes
clouts in pictures have a definite audience
reaction. That is why they are there.
Women thrill to the atavistic power
demonstrated before their eyes. Without
analyzing their reactions, they are carried
back a few million years to the days when
they lived in their prehistoric ancestors ;
when the mothers of men were dragged
off by the hair of their heads.

Civilization is such a new thing, when
those million of undated years are con-
sidered. Beneath our veneer of culture lie
all of those old racial instincts of cruelty,
might, and power. That is why, deep in
the heart of every woman, there is a yearn-
ing to be dominated. To be made to do
things against her will.

And that is why beautiful girls like Jean
must stand up bravely and let big, burly
men like Wally, and strong, willful heroes
like Clark, manhandle them for the benefit
of camera.

for September 19 3 5

AT HIS famous Hollywood studio, Max Factor was advising the
. lovely Loretta Young recently on make-up. In the outer lounge,
women waited.. .famous screen stars, beauty editors. ..eager for a word
with the make-up genius who has brought beauty to thousands.

"I wish all women could know," said Max Factor, as he completed
his selection of make-up for Loretta Young, "that the secret of
beauty lies in color harmony, and that there are three simple things
any woman can do that will make her lovely. To begin with, a
woman should look upon her face as an artist does a canvas. She
must create a portrait so exquisite, that eveiyone who sees her will
say, 'Isn't she beautiful!'

"First she must make her skin alluringly radiant by using powder
in a color harmony shade that will accent the individual beauty
of her type. After that she must add a delicate glow to her cheeks
with color harmony rouge, and for the lips a third color harmony
shade. It is the combined effect of these three things that can
make a face beautiful."

There is a color harmony make-up that will transform you into a
radiant new being. Leading stores everywhere have Max Factor's
powder, rouge and lipstick in color harmony shades for every
type. Would you like to have the famous Max Factor give you a
personal make-up analysis, and send you a sample of your color
harmony make-up? Would you like a helpful illustrated book on
"The New Art of Society Make-Up?" Just mail the coupon below
and all of these will be sent to you.

You will find Max Factor products at your fav-
orite store. A large box of Max Factor's Face
Powder is only one dollar; Max Factor's Rouge
is fifty cents; Max Factor's Super-Indelible Lip-
stick, one dollar. Use Max Factor's Make-Up
and discover what the loveliest women in the
world already know.

Photographs by Eugene Richee
Paramount

in Paramount's
'THE CRUSADES"

a Cecil B. DeMille
Production

Max Factor Make-Up
used exclusively.

^Jaclor * 14ollywool

or *

SOCIETY MAKE-UP— Face Powder, Rouge, Lipstick in Color Harmony

*: * Mail" VoV POWDIEit * ROUSE* *ND UPSTICK Tn *y6»R * COLOR HARMoiiV'

, MAX FACTOR, Ma* Fad
» Send PurseSizc Box of Po<

r Sampler, fou

Illustrated Instruction book,

Make-Up Studio. Hollywood:
id Rouge Sampler in my color harmony shade;
shades. I enclose ten cents for postage
:olor Harmony Make-Up Chart and 48.paee
New Art of Society Make- Up" , . . FREE.

4-9-97

• NAME-

I 1935 by Max Factor & Co.

, STREET_
i

I CITY

COMPLEXIONS

EYES

HAIR

Vtry Light □

Fair □

Creamy Q

Medium □

Ruddy. □

Sallow □

Freckled □

Olive _□

Blue □

Gray □

Greer. □

FW □

Brown □

Black □

BLONDE
Light „D Dark-_0

BROWNETTE
Light. _□ Dark__D

BRUNETTE
Light. _□ Dark. □

REDHEAD
Light __□ Dark„Q
IfHairiiGray.thfti

lypt abort and Acred

f ASHES,* „/.,.]

L,gr,c □

Dark □

SKIN Dry a
O.lyO Normal Q

AGE

SCREENLAND

^\|\RS of the entertainment World

Stars are naturally critical in their tastes. The
requirement put on them is so great that they
become accustomed to demand the highest stand-
ards in everything. So it is significant that in
choosing their personal cars, an increasing number
of stars in all professions, are buying Auburns.

THESE CELEBRITIES of

the Screen, Stage and Radio
own 1935 Auburns.

Buck Jones, goes "modern" when he chooses his
motor car. So it's an Auburn 851 Phaeton Sedan.

Ole Olsen, comedian, picks an
Auburn Straight Bight Phaeton
Sedan to "Go Places." It's an
open or closed car, as he prefers.

CUtS he bought "The ^

Henry Busse, band Leader, is as par-
ticular about the car he drives as
about his musical arrangements. He
bought an Auburn Phaeton Sedan.

Authoress Vina Del mar bought America's
most modern and swanky automobile — the
150 H.P. Super -Charged Auburn Speedster.

Each person in every walk of life, can find an Auburn that exactly meets his or her individual requirements.

A CAR FOR EVERYONE \

for September 1933

Put their ' Seal of Approval on

... Chic Johnson of Olsen and Johnson with
/ his Straight Eight Auburn Phaeton Sedan.

This is Richard Boneili, famous Metropolitan
Opera baritone. Nothing but a Super-Charged
Auburn would satisfy Mr. Bonelli's critical taste.

- Gene Austin, one of the original crooners,
is shown with his roomy 851 Auburn
Sedan that will comfortably seat six.

^—^^^'n,,, 1

' 1 «e new a , l Vcry wfier^ — ■

'v..
t."

AUBURN AUTOMOBILE COMPANY
AUBURN. IND.

80 SCREENLAND

The Best Hollywood Parties

pitcher stars take to the House of Fun,
like ants to a picnic. If you know your
Fun Houses, and I hope you do, you know
that upon entering one you have to run
the gamut of collapsing steps, bridges that
roll, and tumbling barrels — not to mention
those sudden gusts of wind which quite un-
expectedly blow your skirts, hats, and
everything sky-high. Practically every-
body had sense enough to wear slacks to
the brawl — -(Dietrich wore shorts) — but a
few old die-hards came in skirts and my,
my did the snoopers have fun.

Well, once inside we were greeted by all
kinds of slides, roller coasters, revolving
barrels, and the "Social Mixer" which is
a contraption that whirls around and
around until all on board are whirled into
space, hopelessly entwined. The first time
I went on it it took me several minutes to
find out whether that bruised and battered-
looking thing was my arm, or Dietrich's,
or Cary Grant's ; but a little thing like a
ripped elbow didn't discourage me, I prac-
tically lived on the Social Mixer for the
rest of the evening and met the most
charming people standing on their heads
I have met in years. In one of my social
whirls I found myself hopelessly entangled
with Claudette Colbert, Randy Scott, Billy
Haines, Marlene Dietrich, Warner Baxter,
Joby Arlen, Charlie Butterworth and Dick
Barthelmess, and I'm telling you Claud-
ette's elbows are like knives when they dig
into your ribs, and the Baxter hoof is
something none too dainty when implanted
in the cheek.

The stars who escaped broken vertebrae
and sprained ankles on the Social Mixer
got plenty of blisters on the you-know-
whats sliding down the horrible slides with
the awful bumps in them. And poor Mar-
lene had on shorts and didn't have her legs
protected, and you just ought to see them
now! That'll "larn" her to go to a party
in shorts. I didn't venture into the re-
volving barrel but it was some fun watch-
ing Marlene go through, (that gal didn't
miss a thing, sore legs or not), as the boy
who was operating the thing was having

Wide World

Marlene Dietrich having fun at
the Lombard circus, with William
Haines lending a hand.

Continued from page 19

Wide World

Carole Lombard, hostess of the
"House of Fun" party, with Ran-
dolph Scott and Henry Fonda.

the thrill of his life. Every time Marlene
would fall down, and it was every other
second, in he would dash, pick her up with
the most ecstatic expression on his face,
and put her on her feet — and I am sure
that when he is an old man he'll tell his
grandchildren, "I'll never forget that night
at Venice I held Marlene Dietrich in my
arms. . . ."

There were quite a few producers and
directors present, including Walter Wan-
ger, George Cukor, Wes Ruggles, Walter
Lang, David Selznick, and Pan Berman;
but they didn't go in much for the "enter-
tainment." They just sort of stood on the
sidelines and "burned." As I heard Walter
Wanger remark, and quite truthfully, too,
"If I had asked Claudette Colbert and
Marlene Dietrich to come down that slide
or be tossed off that whirling gadget they
would have demanded fifty thousand dollar
bonus and four doubles, or would have
walked out of the picture. And look at
them now !" I looked, and there was la
Colbert barely taking time to extract a
splinter from her whatsit before jumping
on the roller coaster ; and there was la
Dietrich diving again into that awful bar-
rel utterly oblivious to her blistered legs.
No wonder the directors and producers
were kinda sulky.

Carole was so busy being a marvelous
hostess that she didn't have any fun until
along about three o'clock when most of the
guests had taken their bruised and battered
bodies home to bed. Then Carole and
Sally Eilers and Marlene did a little dance
routine with high kicks that was really a
joy to behold, and Lloyd Pantages and
Peggy Fears did an apache number that
brought out the Left Bank in us, and Louise
Fazenda and Dick Arlen and I settled
down to a little steady hot-dog devouring.
It was six a.m., I guess, before the last
stretcher had left with the last guest, and
Fieldsy ('Carole's popular sec) said, "Thank
goodness, that's over!" and left for the
mountains.

The Hill-Billy party which Carole threw
•about two months ago was also something.
It was a deep, dark secret and the guests
were asked to dress, which they did with
earrings, trains, and everything. As soon
as I saw the drawing-room doors closed
I knew we were in for something, and a
hasty check-up with the garage, (where
the beautiful and formal Empire furniture

goes when Carole has an "idea"), proved
that something really was underfoot and it
might be anything from sand to rose petals
and it turned out later to be cornshucks.

Well, anyway, we mingled socially at the
bar for about an hour, and everybody was
quite elegant except a director who spilled
a cocktail on Carole, and then dinner was
announced, the doors thrown open, and lo,
the Empire with its William Haines influ-
ence had given way to the Hill-Billies.
The fireplace had been turned into an im-
mense camp-fire with corn roasting on it
and a couple of cowboys broiling steaks,
and over on the side was a table simply
loaded down with everything from frank-
furters to caviar — just in case there might
be a Problem Child among the guests —
and down the center of the room stretched
a low table set with tin plates and tin cups
and knives and forks from the five-and-
ten. If you sat at all you sat on the floor
and liked it. And really, I've never seen
anything funnier than a bunch of dressed-
up movie stars squatting around a tin
plate of baked beans and drinking cham-
pagne from tin cups. Of course the Hill-
Billies sang and played all the old cowboy
home-from-the-range songs and when they
grew weary Gordon and Revel started
in with "Lookee, Lookee, Here Comes
Cookie" which has haunted me ever since.

Across from me sat Jean Harlow and
William Powell, and you really haven't
lived until you've seen the urbane Mr.
Powell chewing on an ear of corn with a
checked napkin under his chin. On one
side of me was the Countess of Warwick,
Adrienne Ames' and Bruce Cabot's house
guest, and I must say English nobility
seemed to know exactly what to do with
fingers in an emergency. Chester Morris
on my other side sort of complicated things
by filling my plate with everything, and it
took me exactly half an hour to finally ex-
cavate, (goodness gracious, there's that
split infinitive following me around again!),
my steak. I hear that Carole is planning
to have a fishing party soon right there
in her own drawing-room, so it's back to

Happy landings! Cary Grant and
Josephine Hutchinson smile after
a slide at Carol's party.

for September 1933

the garage for the Empire while Noah
Beery 's trout pond moves in.

And speaking of fishing, Claudette Col-
bert's little yachting party down into the
Mexican waters for a bit of deep sea fish-
ing will always stand out in my memory.
My, my, it was such a pretty little boat,
too ; but of course no one bothered to tell
Claudette when she rented it that it was
the best roller on the Pacific, and not so
bad at pitch and toss, either. The Paul
Lukases and the Charlie Butterworths
were in the party and we all set sail from
San Diego of a foggy morning headed for
the Coronado Islands where the big game
fish are, (though we never would have
known it if we hadn't read it somewhere),
and just so her guests could have the best
Claudette brought along her Italian chef.
But no "Rigoletto" arias were wafted up

"See you in the movies," says Lily
Pons, as the operatic star entrains
for Hollywood to make her film
debut in "Love Song."

the hatch, nothing but a loud groan, soon
after the first big roll ; and there was
Carlos in the middle of the galley com-
pletely covered by everything in the
refrigerator, a set of china, and three
completely spilled boxes of corn-flakes.
(Poor Carlos was laid out in his cabin
with a perfect case of sea-sickness and we
saw no more of him until we anchored two
days later.)

Well, one look at that corn-flake souffle,
and a couple of oceanic convulsions, and
we all decided that it would be better to
stay flat on our backs on deck with the
fish rather than be sporting about that gal-
ley. So Claudette took charge, kiddies,
and she was magnificent. All the little
dainties that she had had sent to the boat,
such as cold chicken, broth, French pastry,
etc., had landed on Carlos, so there was
nothing to eat but the fundamentals of
life, and no one to cook them but La Col-
bert, the Glamor Girl. Claudette cleaned
and fried the sea bass we caught, scrambled
eggs and bacon, made toast and coffee,
knocked up a pudding, squeezed oranges by
the dozen, and washed dishes and scrubbed
floors down to the last scurrying corn-
flake in the hottest galley this side of
Suez. All I've got to say is that the Col-
berts must come of a good line of reliable

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stomachs. I've called her Viking Colbert
ever since.

Of course there weren't any big fish,
(except the seventeen-pound yellowtail I
caught on Charlie Butterworth's hook
while he was fixing a scotch and soda for
me which wasn't at all cricket as Charlie
had been holding that reel since sunrise
but what could I do), and of course by the
morning of the second day everybody hated
everybody and no one spoke to any one
and enough feuds had popped out to supply
the Kentucky mountains for years ; and the
sunburn was beginning to blister some-
thing terrific, and we all began to say how
nice and cool it would have been at Cata-
lina, and Claudette Continued to wash
dishes. In fact I didn't hear a single ex-
plosion out of her until the day after we
returned the door-bell of her Beverly Hills
home rang, and the maid being out Claud-
ette answered it, and there stood a man
who handed her two sample packages of
corn-flakes. "Please, go away," Claudette
cried, "before I have to throw this at you."
And then I knew that Miss Colbert hadn't
enjoyed scrubbing that floor. ':

Well, anyway, several days after the
trip, when the sunburn had cooled off, and
we were all speaking again, we declared
loudly that we hadn't had so much fun in
years and we just' couldn't wait for Claud-
ette to give another fishing party— though
I may say that I secretly made a mental
note never to go to sea again on anything
smaller than the Normandie.

Another party that I'll never forget was
my famous "interview" party. I had been
assigned to do a rush story on Loretta
Young, and Loretta's agent called her and
Loretta promptly invited me to dinner the
next night which wasn't necessary but
nice. In the meantime I received a wire
from New York canceling the story so I
called Loretta and told her I couldn't
come. "Oh, you can't do. me that way,"
said Loretta, "you've got to come." Well,
I'm the tender type and I thought that if
Loretta wanted me so much, well I'd just
go to dinner. Loretta's mother beamed
sweetly on me and left as soon as I got
there, and a few minutes after she left the
house was filled with gay young people,
including Loretta's boy friend, and it was
a party. It seems that Loretta's mother
had sort of put her foot down on parties,
and Loretta had told her that I was com-
ing for an interview, and ah me, this
younger generation, you know how it is.

Anyway, it was a swell party even if I
was a shill, or a cover-up, or a fall guy or
something.

When Joan Blondell's young sister,
Gloria, opened in Los Angeles in "Three
Men on a Horse," Joan decided it was a
grand time to have a party. Of course
Gloria, who is quite young and just start-
ing her career, only had three lines to say
in the last act ; but Joan practically bought
out the theatre for the opening night and
we dressed up in our aigrettes and tiaras
and did the thing up big. There were
Mary Brian and Dick Powell, and Glenda
Farrell and Eddie Bellande, and Sally
Blane and Norman Foster, and the Lloyd
Bacons, and the Jimmy Cagneys, and a
raft of others ; and Gloria may be a great
star some day but she'll never have such
an opening night as that was. After the
play Joan and George took us to the
Trocadero where we toasted Miss Gloria
time and again, and I never saw a more
excited little girl, especially as she was
being escorted that evening by George
Abbott, the producer. Along about three
in the morning the boys, led by Dick
Powell, started a little harmony, and I
think I left soon afterwards.

• The Countess di Frasso's parties are
supposed to be the height of something or
other in Hollywood, and are quite, quite
gay, and completely out of focus. The
Countess bemoaned the fact not long ago
that at her parties at some time during the
evening a couple of guys would inevitably
start fighting. So she gave a "fight" party
with her back lawn fixed up to resemble
a ring, and during the evening professional
boxers and wrestlers did their stuff, which
sort of cramped the style of the amateurs.

A few weeks ago most of Hollywood re-
ceived a wire which read : "I am giving a
party Sunday night for my favorite brother
Bertie who has long over-stayed his visit
in Hollywood stop Please come dress as
your favorite movie star or as an adver-
tisement or as someone you dislike stop In
fact come in anything or anyway just so
long as we manage to confuse Bertie."
And if Bertie wasn't confused he certainly
should have been, for everything was
there. The Countess herself seemed to
confuse everyone as well as Bertie. She
was dressed in feathers and more feathers
and when Dorothy Parker saw her she re-
marked to Clifton Webb, "Isn't it a pity
our hostess didn't dress." And what do
you want to make of that !

In this touching scene from "The Hands of Orlac," Frances Drake and Colin
Clive indicate that the studio chose wisely by casting them for the parts.

for September 1935

Diamond" in the Rough

Continued from page 57

"I was definitely set on being an actor and
started my training with stock companies,
finally landing on Broadway.

"To survive in this hazardous business
one must have a real love for it in his
heart. No one can teach you how to act
or how to read lines. It goes deeper than
mere training because it is something born
in you, but it takes vast acting experience
to be able to unleash your emotions and
express them visually.

"I sincerely believe that acting requires
more hard work than any other profession,
but if you love it no sacrifice is too great.
There's an excitement, an exhilaration
about it that drives you on, that unfits you
for any other profession. An actor is al-
ways hoping for a great part, one into
which he can throw his whole being. This
is not alone for fame. Rather, I'd say it
is a personal pride, a desire to prove to
himself that he justifies his own dreams.

"With all its hardships and its disap-
pointments and heartbreaks, I can't think
of life without it, and if I had half a mil-
lion dollars today I'd go right on acting !"

Funny thing about the camera, it seems
actually to go out of its way to focus upon
Arnold's exuberant personality whenever
he goes into action, and his successes have
been so many and so varied that he is
being hailed the character screen find of
the year.

Besides his Brennan in "Sadie McKee,"
he won favor as the kindly Senator in
"Jennie Gerhardt," the lovable crook in
"The Million Dollar Ransom," the German
musician in "Biography of a Bachelor
Girl," the father in "Wednesday's Child,"
the secretary of war in "The President
Vanishes," Louis XIII in George Arliss'
"Cardinal Richelieu" — and of his role in
the latter he says :

"There was nothing humorous about it.
Perhaps if Louis could have laughed he
would have written a different page in
history. As always with an Arliss picture
we had rehearsed as if it were a stage
play, and it is a joy to get into the swing
of a perfect continuity. What's more, I
like a costume drama, especially of that
picturesque period ; and all in all, it was
a happy experience.

"Then there was 'The Glass Key,' with
George Raft. And now I'm having a fling
at being starred in a story built around
Diamond Jim Brady. He was the original
playboy of Broadway, and his life was
gay, dramatic, and sensational enough for
several plays. I'm surprised it hasn't been
done before, but mighty glad it waited for
me to depict this colorful character. It
gives one a strange feeling to bring a real
person to life on the screen. I've studied
Brady until I feel I know the man, know
his every reaction, and his emotions were
many and far-flung !

"I met Diamond Jim Brady years ago,
when I was appearing on the stage with
Ethel Barrymore. Brady came back-stage
to visit Miss Barrymore when we were
playing in 'Mid Channel,' and later I met
him for the second time when he again
came to see Miss Barrymore at the Maxine
Elliott Theatre when I was appearing with
her in 'The Chaperone.'

"My recollection of Diamond Jim co-
incided with the character as portrayed in
the scenario when I first read the script of
the picture. Since I had drawn upon per-
sonal acquaintance of the man in playing
this part, it was, you may be sure, more
than a little gratifying to hear people at
the studio remark a close resemblance be-
tween my screen portrayal and Diamond

Ex-Lax I) tAe \deajf

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Ex-Lax is the ideal summer
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And Ex-Lax is such a pleasure
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So be sure to take along a plenti-
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When INScsfyre forgets —
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Jim, when the first rushes of the film were
screened."

It isn't all work for Eddie Arnold. He
likes to ride, to swim, and above all, to
tinker with his automobiles ; and he insists
he is a first rate mechanic. He likes to
cook, too, and is really an expert. All this
is a pleasure because he is happily mar-
ried. Neither he nor pretty Mrs. Arnold,
formerly a concert singer whom he met
while playing in stock, in Minneapolis,
Minnesota, fear the Hollywood jinx.

There is quite a family living in the

beautiful home among the hills in Beverly
Crest, for beside their three children, they
have with them Eddie's cousin and Mrs.
Arnold's nephew, both young boys.

"We're an example of the fine spirit of
co-operation, which is the greatest factor
in keeping the family happy and contented,"
he told me with natural pride. "For one
thing, we make it a practice to have break-
fast together and start the day with a
laugh. So," he added, with an irresistible
twinkle in his eyes, "I really do live up to
my creed !"

The Baby Menaces

Continued from page 27

my impersonations ?" and Mr. Ryan, too
exhausted to object, nodded. Jane did
Garbo and Zasu Pitts and landed right into
"Bright Eyes," a Fox contract, and Mrs.
Temple's ointment.

Despite the fact that Jane has been in
"the public eye" since she was three, she
is a very normal little nine-year-old girl.
She sees more movies than you and I, and
her ambition is to own a motor boat that
will go a hundred miles an hour, and to
live in the country where she can have a
baby elephant and a kangaroo. Her fa-
vorite actor is Warner Baxter and she is
thrilled that she is going to make a picture
with him soon and she hopes it will be
about kidnaping as that is the most excit-
ing thing she knows and she likes exciting
pictures. She is a born trouper, and re-
fuses to have a "double." In the coal-bin
sequence in "Ginger" when a double was
suggested she announced quite firmly that
she could take her own falls. She cooks
biscuits, (a Southern gal, all right), and
she sets the table for her mother, and she
keeps her own room. Jackie Searle is the
first "man in her life," and a Great Occa-
sion was the day he took her to the Flint-
ridge Country Club to watch him ride in
a horse-show, (where incidentally Jackie,
a pet weakness of mine, won two cups and
a blue ribbon). When one of the camera-
men told her that Jackie was much too old
for her Jane retorted, "No, he's not,
either!" and the only way the prop men
can get a "rise" out of Jane is to tell her
that Jackie likes blondes.

Out at Warner Brothers little Sybil
Jason, her sister Anita, and her uncle
Harry Jacobson and I had lunch together
in the Green Room. Sybil, as you know
if you've read your newspapers lately, is
the wonder child recently imported by
Warners from England. Only six years
old, she can sing, dance, play the piano,
read everything!, and do impersonations.
When Marion Davies saw her do some
of her impersonations and sing and play
the piano Marion practically swooned _ in
her chair and gasped, "And just to think
at six I could barely say 'Mamma !' "

Of course the Warner press department
lost no time in proclaiming Sybil another
Shirley Temple, and proudly predicted that
the minute Sybil's picture was released the
Queen of Fox Hills would be dethroned.
So I trotted out to Warners to see what
could be done about that dark horse, Sybil
Jason, with lollypops of course. Yeah,
you guessed it, I fell for Sybil, too ! I ad-
mit I was rather aghast when this six-
year-old baby picked up the menu, read it
thoroughly, and in perfect English ordered
her luncheon — tongue and pickles. Per-
sonally I can't read a menu or even speak
perfect English; but after all just because
I'm a moron I shouldn't hold it against
Sybil. No, indeed. Sybil is a beautiful
little girl with immense blue eyes and the
sweetest smile I've ever seen on any child,
despite the fact that she was having a little

false tooth trouble that day. I've never
had a more sociable luncheon. Sybil was
enraptured when I told her about Ocean
Park, (our Coney Island), and childlike
she counted the days on her fingers until
she could go there. Then she told me
about her new puppy, Mike Curtiz Jason,
and the flowers in her front yard, and her
dolls, one of whom was having lunch with
us and behaving very badly. Sybil and
Mike Curtiz, her director, are just like
that, so Sybil named a Scotty puppy after
him and Mike was so pleased he called
Sybil nothing less than a genius. She
adores funnies, strawberry shortcake, swim-
ming, animals, and all people. She loathes
milk. She likes to play "Mama and Papa"
and plays both parts, and Mama is always
having to grumble with Papa. She likes
to read, and has just finished "David Cop-
perfield" which she read from cover to
cover in no time at all — which reminds me
that at the age of six I had just stepped
on my first stepping-stone to literature
which had something to do with "I see a
cat." Sybil is most amazing. She'll do a
sophisticated impersonation of Mae West
one minute, and the next she'll be crying
for her dolly like any baby girl. She'll
talk like an adult one minute, and the next
she'll be a little girl that you can't resist
cuddling. I'm afraid she's what I've al-
ways avoided — a child prodigy. But so
help me, I'm crazy about her.

Sybil was born in Capetown, South
Africa, in 1929, and at the early age of two
began to startle South Africa by her vocal
accomplishments, her ability to play the
piano and sing, and to mimic celebrities.
When she was three she joined her uncle,
Harry Jacobson, a pianist with the Savoy
Hotel band in London, and was introduced
by him to Frances Day, who went into
ecstacies and arranged to have Sybil give
a professional appearance at once. She
was signed for English pictures, and at the
preview of her first picture, "Barnacle
Bill," was none other than Irving Asher,
head of Warner Brothers in England, who
proceeded to grab her at once in the Amer-
ican fashion, and before little Sybil, sister
Anita, and Uncle Harry could bat their
eyes they were in Hollywood without even
a stop-over in New York. Sybil's first
Hollywood picture will be "The Little Big
Shot" with Glenda Farrell and Bob Arm-
strong and Edward Everett Horton, and
it's ready for release now.

Now I don't have to tell you what a
sensation little Freddie Bartholomew was
in "David Copperfield." Nor how he per-
suaded his aunt to bring him to America —
(Freddie was born in London but brought
up in Warminster, Wiltshire, England) —
so he could take a test for David. Nor
how he was nothing daunted when he ar-
rived and discovered that about ten thou-
sand other little boys in various parts of
the world were taking tests, too, but per-
sonally contacted both the producer and
the director until they both decided that

for September 1933

there was only one child to play David and
that was Freddie Bartholomew — and how
right they were.

I admired Freddie tremendously both in
"David Copperrield" and in "Anna Kar-
enina" but I had never met him until the
eventful Children's Day when I toured the
studios with my poisoned lollypops. And
speaking of Days, Freddie immediately
won me over by telling me about "Auntie's
Day." It seems that all the other little
children were observing "Father's Day" so
Freddie decided to have an "Auntie's Day"
and surprise his young aunt, Miss Myllic-
ent Bartholomew who has reared him since
infancy, with a cake. He buttered a pan,
then lined it with cornflakes, then some
figs, then some puffed wheat, then some
peaches, and then some "cimmaron" — (the
only word I heard Freddie mispronounce)
— and then some rice; and then he put it
in the oven to cook, and his aunt thought
it was quite delightful, even if the rice
didn't get done, and that he was terribly
smart to think up that recipe all by him-
self. And just because the rice didn't get
done he took her to Ocean Park and won
an ashtray for her at the shooting gallery.
Freddie with his beautiful boyish face, his
charming manners, and his delightful Eng-
lish accent, might just so happen to give
you the impression that he is sissy. But
don't let those eyelashes deceive you.
Freddie is an expert horseman and has
the admiration and respect of every stable-
boy in Hollywood and Palm Springs. He
knows how to box and he knows how to
shoot. Like all little boys he thinks it's
great fun to twist your arm until you
grimace, but unlike all little boys he really
prefers adults. His pals are his aunt,
Roland Leigh, Elizabeth Allan, Benita
Hume, and of course George Cukor and
David Selznick.

Now Mrs. Temple may be worrying
over Jane Withers and Sybil Jason, and
Mrs. Cooper may be worrying over Fred-
die Bartholomew and David Holt, and W.
C. Fields may still be worrying over Baby
LeRoy; but after looking into this situa-
tion thoroughly I think we'd all better
follow Shirley's example and take a romp
with the kiddies. There's plenty of room
in Hollywood for all the child stars, and
I can still be true to Shirley and like Jane
and Sybil too. And you, too, can be big
about it !

And now that Children's Day is over
and I've been under the strain of being
just awfully nice and refined for eight
hours I think I'll take the night off and
run down to San Diego to see the tassel
dancers at the Fair. Want to come along ?
I bet you do !

Kay Francis, champion screen star
traveler, returns from another
European tour.

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SCREENLAND

such as this, it's a good idea to go to the
movies and get your attention taken off
yourself and your woes.

Nervousness is usually attended by indi-
gestion. This is one of those "chicken and
the egg" affairs for indigestion may cause
nervousness and nervousness brings on in-
digestion. Americans as a rule eat too
quickly. They eat when they are tired,
angry, or worried — times when any food
taken is poison to the system.

Teach yourself to eat slowly if you are
afflicted with nerves. Never go to the table
unless you are relaxed. When you come in
at night after a hard day, lie down and
relax completely, even if only for fifteen
minutes. Omit the meal entirely if you are
angry or upset ; but learn to calm yourself
so that this will not be necessary.

"But I don't know how to relax!" is the
wail of girls who come to me.

One way to do so is to lie down in the
dark, flat on your back, with your head a
little lower than your body, and pretend
there are weights on every part of the
body ; begin with the hands and let go, then
the arms, then the legs, until every part is
a dead weight on the bed and you are per-
fectly relaxed.

If you want to gain weight, lie down
after you have eaten a heavy meal ; this sort
of meal makes you sleepy, so follow that
feeling; but if you are overweight, fight it.
Go for a walk, stand up and do the dishes,
sweep the front walk, — anything but lie
down.

Wendy Barrie, one of Hollywood's pret-
tiest younger actresses, tells me that her
favorite method of relaxing is to lie down
flat on the floor or the ground, close her
eyes, and let go all over. She declares that
lying on a bed or anything soft will not do
for her, as only something extremely hard
will give that support that aids complete
relaxation.

"When you are so situated that you can't
lie down to relax," added Wendy, "the ad-
vice a famous English actress once gave me
may help you. She said that when she found
herself growing tense and nervous, she put
her feet up on another chair, or if that was
not possible, she put one foot up on a chair
or other support. That relieves tension by
stretching the muscles of the thigh and
helps considerably to untie nerve knots."

Ann Dvorak has her special method of
relaxing : She can make herself "fit," as
the English say, in ten minutes, by simply
inverting herself in a big chair. Her knees
rest on the top of the chair back, her head
hangs down from the seat ; the blood rushes
to her head and circulates through it; she
comes up revivified.

This is something like Lawrence Tibbett's
custom of standing on his head just before
he goes into a concert or opera.

A' quick way to relieve tension in the neck
muscles, the seat of nerves leading to the
head, is to revolve each shoulder. You can
do this in the office, or while you are waiting
for a street car. Do it often. Revolve the
head on the neck, too, whenever you can
during a bad^ day, or massage the back of
the neck with your fingers.

It is a good idea to get someone to mas-
sage the back of your neck and shoulders
and the base of the spine when you are very
tired and your nerves twitch. This is the
quickest relaxing method — just a circular
movement, not too strenuous, but gently,
soothingly.

Deep breathng while lying down,
especially if you are lying down in a room
with wide open windows, or outdoors, will
bring relaxation.

Continued from page 56

If you are nervous, try hanging your head
over the side of the bed and letting the blood
flow into the roots of the hair. Many
people use hard, high pillows so that their
blood never gets a chance to circulate
as freely as it should through the neck and
head.

If you have been doing hard, physical
work all day long, you need rest after
dinner. It won't hurt you to exercise your
mental faculties but don't go in for setting

Gary Cooper, very much at home
in his studio dressing-room. Note
Gary's hunting trophies.

up routines. You don't need them. But if
you are a typist, a writer, a bookkeeper, or
someone who must sit a great deal, don't let
yourself sit or lie down all evening

You are tired, yes, but what you need to
rest that tiredness is to give your unused
muscles a chance at action. Do a daily
dozen if the weather is too bad for outdoor
exercise, but take a long walk if you can,
or go to the gym for a swim or a game.

I heard the other day that Joan Crawford
can't relax unless she reads. This may not
be true, but anyway she isn't relaxing if
she's reading ; she's working her brain so
that the blood is taken from her body.

If you lie down to relax, do just that;
don't read, don't talk, don't stare around
the room, don't try to work out a puzzle or
strain your memory to recall forgotten
things. Rest!

Claudette Colbert always lies down in
her dressing-room after luncheon when she
finds herself growing tense. If the con-
dition persists, she sips milk on the set.
Milk is splendid for nervous people, but
you'd be surprised how few of them drink it.

Elissa Landi, after a hard day, takes a
long walk or gallops over the hills on one
of her horses. She believes — and she's right
— that the way to avoid lying awake worry-
ing over things that have gone wrong is to
make yourself so physically exhausted that
you must sleep. If you walk, don't go just

around the block ; walk two or three miles,
until you are so weary you can scarcely
get home. Then you'll find it easy to relax
into slumber.

When Mary Boland feels that things are
not sailing along smoothly, she goes into
the garden in the sunshine and works
among her flowers. The combination of
sun, congenial labor and fresh air do
marvels for her, she claims.

Sometimes the thing that causes nerves
to fray is poor posture. You see, your head
weighs somewhere between twelve and
fifteen pounds, about a tenth of your whole
.weight. If it rests on top of the column of
your spine, as it should, there is no strain
anywhere, but if you poke it forward or let
it slump over, you are putting a big strain
on neck muscles and throwing out the whole
balance of your body.

Avoid anything that tends to push or pull
your head from its proper position on the
center of your neck. Sleeping on a high
pillow thrusts it forward to one side, (if
you sleep on your side), for hours at a
time. Eye-strain pulls your head forward
and you find your shoulders stooped and
your chest hollow. Drooping over knitting
or typing or shelling peas allows the heavy
ball to slide out of line, and brings on a
double chin.

Remember to keep the tips of your ears
in line with the shoulders, and you'll be
amazed at how much more restful your
posture will be.

Try this exercise : Lie face down on the
floor, arms extended, a pillow under your
abdomen. Exhale through lips pursed up
as if whistling and at the same time raise
head and shoulders upward and back as if
you were a seal. Rest and repeat. In rais-
ing up, use only neck and shoulder muscles,
not the waist muscles.

For filling out a thin neck by building up
neck muscles, try this : Lie flat on your
back, with the pillow under your shoulders
this time — but not under the neck. Throw
your head back toward the floor, stretching
it as far as you can without moving your
body. Then bring it forward as far as pos-
sible ; then relax thoroughly. Do this half
a dozen times at first, then add one a day
until you are doing it a dozen times.

Taut muscles, which are the result of
wasting nervous energy, keep you thin, etch
lines around your mouth and eyes, restrict
your breathing and make poise impossible.

If you are a victim of nerves, do relaxa-
tion exercises for at least ten minutes every
day in order to establish the habit of re-
laxing.

It is a good idea to do these exercises to
music, if possible, because that will help
you relax your mind as well as your body.
Don't plan and don't worry while you are
engaged in these exercises, but try to listen
to the music and forget yourself. Naturally,
you are tense because of some mental con-
dition, so the mind must let go, too.

1 : Stand with feet well apart, hands
hanging loosely at sides. Bend the right
knee a little, throwing your weight on that
foot and stretching the left leg. Let the
body droop toward the right, muscles re-
laxed. Roll the body around in a circle
from the right, back, left, front and to
starting position once more. During this
circular movement, let the arms hang per-
fectly limp and let the head roll on relaxed
muscles. Try this again with weight on
left foot.

2 : Sit on the floor with left leg stretched
out behind and the right leg tucked under
the body. Brace your body on the. floor
with right hand. Slowly relax the muscles

for September 1955

of the trunk, letting the right hand slide
along until you are lying extended on the
floor. Go over your body mentally, relax-
ing each muscle. Repeat.

3 : Stand erect. Slowly relax the muscles
until your body crumples up on the floor.
Stretch out at full length, then relax com-
pletely. Repeat.

A "bad habit that you probably have if
you are the nervous type is that of sitting
on the edge of your chair, or on the end of
a desk instead of taking a proper position
with the hips well back in the chair and
the head held easily. Sit before a mirror
and see what perching on edges does to
your looks. How do you hold your head?
What does it do to your neck? Your chin?
Your abdomen? One look Ought to be
enough !

The headache that results from a cramped
position over a desk or machine often brings
on nervous irritability. This can be avoided
if you will now and then rise, go to an open
window and take a few deep breaths,
stretching the arms over the head as
you do so.

If you come in at night so tense with
excitement that you can't sleep for hours,
don't lie there tossing around and keeping
the family awake.

Take a warm bath, followed by some
relaxing exercises, and you'll find yourself
asleep before you know it. If you haven't
some pine bath salts to put in your bath
water for this relaxing bath, take some
bicarbonate of soda and Epsom salts in it
and this will help relieve fatigue.

When you are ready for bed, lie down
and relax every muscle: begin by shaking
your hands loosely and allowing them to
fall limp ; then treat your feet and legs the
same way. Take deep, even breaths, and
presently you will be asleep.

JAMES DAVIES" ANSWERS
TO QUESTIONS

James Davies is at your service ! Con-
sult him for advice on how to reduce or
gain weight, by means of healthful
exercise and diet — the methods used by
screen stars he has helped to keep tit and
lovely. Mr. Davies can't undertake to
answer letters by mail, but representative
questions will be answered in the col-
umns of Screenland. Address your
questions to : James Davies, Screenland
Magazine, 45 West 45th St., New
York, N. Y.

Miss Violet K., Cicero, III., and Miss
Patricia Ann, Reading, Pa.: You both are
worrying about bulgy calves. (Patricia
Ann is about 10 lbs. under-weight, so per-
haps her trouble lies in over-developed
muscles instead of fat.) However, the fol-
lowing exercise will take care of both
muscles and fat: Brace your knees firmly
together, then relax the muscles of the lower
legs and give them a good shaking until
tired. Follow this by a brief rest, then
slowly stretch your limbs downward, up-
ward and sideways.

Miss A. Jockeni, The Hague, Holland:
According to your measurements, your hips
seem to be a bit large. Try this exercise:
Clasp your hands back of your head and
rotate the body forward and downward from
right to left and from left to right. You
say that in Holland you use cm. instead of
the inch as we do over here. 2.54 cm.
equals 1 inch. Your hips are therefore 38
plus inches.

Mrs. E. R. C, Ft. Dodge, Iowa: Take
my advice and ask your doctor at once
about the unnatural swelling of your ankles.
Perhaps the round shoulders are caused by
poor posture — watch this. Exercise for re-
ducing abdomen : Lie flat on the floor with
hands clasped behind the head, and feet
under some obstacle — a low-runged chair
will do. Then sit up without raising the
feet. Do this half a dozen times every
morning.

Miss J. Karlinsky, Washington, D. C:
Do not jump rope! It is the worst thing
you can do. Posture may help you. Firm
the tissues with cold water, ice, or as-
tringents. Cross hands in front of chest
and violently throw arms out to side and
back. Ten strokes are enough at first.

K. J. M., Arlington, Washington: Lay
off sweets this season and eat instead plenty
of fresh fruit. Go in for swimming, playing
games on the beach, and do the all-round
exercises recommended in this issue.

Miss L. A., Brooklyn, N. Y .: An expert
masseur would solve your problem of ex-
cess flesh. You can learn to give yourself
a massage, however. Buy a bottle of mineral
oil, lubricate the palms, make a cup of the
hands and gently slap hipline and thighs,
always working upward. Slap softly and
slowly enough to feel a slight suction with
each blow. If working on hipline, start on
upper thigh and work upward to waist.
Suction, not the blow, does the work.

C. S. and M. M., Philadelphia, Pennsyl-
vania: See above for massage treatment.
For bow legs, correct posture makes these
less conspicuous, but exercise improves con-
tours. However, if -\ ery bad, go to a doctor
for surgical treatmei t.

Johnnie GOES

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some of the tidiest hip-
lines in Hollywood !

Meet the powder you've been
waiting for — introduced by
Cashmere Bouquet.

Fashion bows to the new Glazo
pearl finish nail polish.

THOUSANDS of
women all over the
country chose the shades
and texture for the new
Cashmere Bouquet face
powder. The makers
tested it and sent out
samples for more than a
year before they placed
the powder in the stores.
The result, in our opin-
ion, is practically perfect !
It is gossamer-fine, cling-
ing but won't cake, and
it has the lovely Cash-
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that never grows old. Comes in naturelle,
dark rachel, light rachel, beige, and peach
rachel — the shades which rated the top five
I in popularity. It's surprisingly inexpensive.

BE KIND to your new Fall clothes, and
don't let yourself be guilty of ruining
their fresh newness by under-arm perspira-
tion. The way of absolute safety is to sew
Kleinert dress shields into your clothes be-
fore ever you wear them. These come in
every color, weight, and size. The silk

No applying lipstick "blind"
with Corday's new Mirro Stik
( mirror attached ).

crepe ones are dainty
little guards for your
finer fabrics. There's a
half-shield for a sleeve-
less gown. Or if the
thought of a bit of sew-
ing irks you, Kleinert
makes a bra-form that
combines shields with a
brassiere. Or there's a
little slip-on model that
can be pinned in place.

HAVE you found out
what the new Glazo
pearl finish nail polish
will do for your hands?
If not, you'd better. It
gives your fingernails the
most fascinating irides-
cent gleam — altogether
different from the ordi-
nary shine. It's ultra
smart if you apply it
over the entire nail and
then take just the tiniest
bit off the very edge.
This makes your nails
look longer and your
hands seem slimmer. Nat-
ural, flame, and shell are
the colors. Incidentally,
prices on all Glazo pol-
ishes have come way
down, and you can get a
whopping big bottle of
oil-base polish remover
for a mere trifle.

THE quick and easy
way to get your fig-
ure in shape is to wear
a Perfolastic girdle. It
takes off the pounds and
inches just where you
want to lose them, with-
out leaving you any leg-
acy of facial lines and
sags the way a too-stren-
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do. Hips, thighs, and
"tummy", are where the
Perfolastic reducing gir-
dle goes to work with a
vengeance ! If you're
cursed with a "rubber
tire" around the dia-
phragm region, a detach-
able brassiere worn with
the reducing girdle takes
care of that. Little vac-
uum cups in the perfora-
tions set up a massage-
like action which does
the reducing job — quite
comfortably, as your skin
can breathe.

^JORDAY has a new

lipstick that's a honey !
It's called Mirro Stik
because when you open it up, a little steel
mirror pops out — just the right size and
shape to show your lips clearly while you
do the make-up job. The case is a smart
affair, the kind you'd hate to throw away
after you'd used up the lip rouge to the
last drop. So — Corday gives you a refill
to double its life. Comes in light, medium,
raspberry red, and electric — (a grand new
Terra Cotta shade).

The case itself may be obtained in black,
red or that intriguing shade of Corday blue.

for September 1935

Joan Joins the Rebels

Continued from page 34

best-made plans can slip, and Joan's did,
and, her young dream of happiness-ever-
after not materializing but rather dissolv-
ing with the severance of the marriage
bonds in a divorce court, she had to make
a living. The stage offered the way.

However, all that was in the dim past.
Now a screen star, with her two best pic-
tures immediately back of her, "Private
Worlds" and "Mississippi," a home in Hol-
lywood with her successful writer-husband
also engaged in movie work, and her two
young daughters, "what," we wanted to
know, "do you want with a stage engage-
ment? Here you've just been telling how
much you like picture work, how you love
living in Hollywood, so what's the idea of
wanting to go back to Broadway to do a
play? That's what lots of screen celeb-
rities say, but why?"

The petite lady in the chic black frock
with a large white bow at the neck — a
smiling young girl she seemed, with her
very blonde hair, prominent forehead, firm
and smiling mouth and starry blue eyes,
appeared more amused than annoyed at a
torrent of "whys" that, 'tis feared, were
put with more emphasis than politeness.

"I can't speak fcr others, only myself,"
Joan replied quite calmly, never so much
as a gesture of emphasis accompanying the
words directed at the interrogator seated
opposite her in the living room of the hotel
suite which she made her temporary resi-
dence.

"My reason," she continued, "is simply
that I want to prove that I can play more
substantial rol.es, and I believe I can do
that by appearing in a play more quickly
than by simply talking about it at the pic-
ture studios."

Does anybody ever get the brass ring
on this merry-go-round of making a ca-
reer ? You make a hit on the stage, get
a movie contract, play in several important
pictures and get a reputation for yourself
on the screen, only to find that if you want
to continue progress in your job, you'd
better be getting back to the stage, the orig-
inal spring-board, to prove you are some-
thing more than a mere type, a one-part
style of actor or actress.

And mind you, this is not simply the
theory advanced by one individual, who
in this case happens to be the charming
Joan Bennett. It is sound reason, because
a screen star can come pretty close to writ-
ing her own ticket as to the kind of part
she'll play on the stage, whose managers
know the value of such picture "names"
to the box-office.

Of course, the outcome of these stage
ventures is not always happy. The ex-
periences of Hepburn in "The Lake" and
Hopkins in "Jezebel," though now history,
remain as warning signals to deter screen
players tempted to go back to the foot-
lights. But figure it out — did either Kath-
arine Hepburn or Miriam Hopkins suffer
any injuries to their screen prestige because
their plays failed? Not so you can notice
it !

"I don't consider stage acting any more
a test of acting ability than working in pic-
tures," Joan went on. "As a matter of
fact, there are things about picture acting
which put greater demands upon the play-
er's ability to create a mood. You work
up to a certain point and must stop, whereas
the stage gives you the chance to go
through the natural sequences in working
up to climaxes. It's simply that I want to
show I can do different parts and can get
that opportunity on the. stage, that makes

SHE cheats herself out of good
times, good friends, good jobs —
perhaps even out of a good marriage.

And all because she is careless!
Or, unbelievable as it is, because
she has never discovered this fact:

That socially refined people never
welcome a girl who offends with the
unpleasant odor of underarm per-
spiration on her person and clothing.

There's little excuse for it these
days. For there's a quick, easy way
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from odor all day long. Mum !

It takes just half a minute to use
Mum. And you can use it any time
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You can shave your underarms
and use Mum at once. It's so sooth-
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Always count on Mum to prevent
the odor of underarm perspiration,
without affecting perspiration itself.
Don't cheat yourself! Get the daily
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West St., New York. kra,

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ANOTHER WAY MUM HELPS is on sanitary napkins. Don't worry about this cause of
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You'll adore this smart box with its gleaming
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keeping the inside of the box immaculate.

Carter's Ideal Typewriter Ribbons write
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me consider going back to the footlights.
And this merely as a step to further my
picture work."

It seems Joan has reached the decision
that many an actress arrives at eventually.
She wants to amuse you. To make you
smile, chuckle, laugh, even. In other
words the little blonde who has supplied
substantial motive for many a screen hero's
strivings to make good for the heroine's
sake, by a personification of beauty and
ingratiating sweetness, wants to play com-
edy roles. Smart comedy characters, the
kind that though they exact far more of
the actress than any other type of part, are
the aim of every player who is anxious to
prove her mettle as an actress.

Joan, who won resounding praise for her
work in "Private Worlds," amid such top-
notch acting company as Claudette Colbert,
Charles Boyer, Joel McCrea and others in
a notably fine cast, also has made good in
a big way as a leading lady for Bing
Crosby, and "Mississippi" hadn't reached
the preview stage before Paramount de-

SCREENLAND

cided to exercise an option on Joan's serv-
ices for another picture by calling her back
to play opposite Bing in his latest, "Two
for Tonight."

This, Joan finds a most agreeable ar-
rangement. "He's about the nicest chap to
work with I ever met," she said, referring
to Bing. "I've always been a fan of his
— radio, phonograph records, pictures of
Crosby have always been attractions for me.
And hasn't he made strides as a picture
actor ?"

Well, any actress who likes pictures as
much as Joan Bennett does, and whose
latest assignment is another part opposite an
actor she so much enjoys working with,
may be persuaded by something less than a
war or other world-shaking event to give
up her idea of returning to the footlights
for a spell. But you can be sure our smil-
ing little beauty has a mind of her own,
and you are not advised to place any bets
that this talk of Joan's about going into a
stage play is just mere talk that will never
turn to action.

Radio Parade

Continued from page 62

opportunity, until accepted for a place on
the Bowes program. So overwhelmed was
she with the kind and sympathetic attitude
of the Major that the poor lady was re-
duced to tears of joy. The good Major
asked her to try and compose herself and
return to the microphone later. She did.
Mary Garden, almost as famous for her
interest in young singers as she is as one
of the great names of opefa, was present,
and offered to help the young matron.

Several of the amateurs on the Major
Bowes programs have obtained limited en-
gagements on the air.

Now Major Bowes has signed to produce
a series of short subjects — which means
that amateurs who impress him as having
promise for the future, as well as merit as
beginners, will appear on the screen —
hitherto the most difficult of all theatrical
spotlights for a beginner to crash.

When the new directors of the Metropoli-

tan Opera Association invited Helen Oel-
heim to put her signature on one of their
new-style contracts, the spotlight was
turned on one of the most accomplished
and least publicized artists regularly en-
gaged in radio.

Miss Oelheim's warm-toned and excel-
lently schooled contralto voice has added
to the musical merit of many a broadcast
during the past five years. For the last
two years she has been a member of the
Show Boat troupe.

You've read very little about Helen Oel-
heim, who is one of the easiest persons to
talk to you could meet, largely for the
reason that the publicity phase of her pro-
fession is one she has never been much
interested in. Miss Qelheim is the type
that does things, and well, and has little
to say about them — except if you ask her ;
and then this rather petite lady with the
charmingly natural manner, looks directly
at you with her wide, pale-blue eyes, tells

Fellow workers at the Warner studio! Above, Josephine Hutchinson, Glenda
Farrell, Mervyn LeRoy, director, Joan Blondell, and Anita Louise.

for September 1935

you the answers with ingratiating frank-
ness.

You probably recall — now that you're
reminded — that Helen Oelheim and a chap
named Nelson Eddy were the featured
singers on a radio program about three
years ago under the name of "The Dutch
Masters" program.

And, speaking of Nelson Eddy, Helen
Oelheim proved herself just another
woman — like all the rest ! You know, "He's
such a grand person." Then she added,
"And I think he's even nicer now than he
was then before he became so famous."
The notion may not be so nice, but for the
sheer novelty of it, I'd like to hear some
member of the fair sex mention Nelson
Eddy without raving about him !

About the lady's innocence of that guile
that makes good publicity : Here's an in-
stance. After she was signed for the Met,
somebody told her it would be a good idea
to get herself some pet, a baby leopard
preferably, but at least a dog. "I've always
wanted to have a dog," she confided, "but
I'll be darned if I do a thing like that —
make a dog be my 'stooge' for some pub-
licity. I like dogs too much for that."

Born in Buffalo, of a family that liked
music, though she is the only member in
the profession, Helen Oelheim is a product
of an American conservatory of music.
Her first studies were concentrated on the
piano, but she sang a little. Appearing at
a church affair, singing songs to her own
accompaniment, Helen impressed a woman
who was studying voice. This woman took
Helen to her teacher for an audition. Not
long after, Helen was doing another audi-
tion, to her own piano accompaniment, and
thereby won a scholarship at the Eastman
School in Rochester.

While a student at the school, she ap-
peared in many of the stage presentations
offered with pictures at the Eastman Thea-
tre in Rochester. These presentations
were directed by Rouben Mamoulian, who
is now one of our foremost film directors,
and winning new fame for his work on
"Becky Sharp.

An organization formed to present opera
in English took several of the Eastman
students into its fold, and among them
Helen Oelheim. She sang six operatic
roles — her favorite was, and still is, Suzuki
in "Butterfly."

There were some dramatic episodes con-
nected with Helen's audition at the Met.
She had been heard by the late Herbert
Witherspoon, then director, and time lapsed
between the audition and word that Miss
Oelheim's contract had been confirmed.

Mr. Witherspoon finally informed her by
telephone that the contract had been ac-
cepted. Not more than an hour later Helen
Oelheim saw editions of the evening paper
announcing that Herbert Witherspoon had
died suddenly in his office at the Metro-
politan. When the first lists of artists
signed for the Met was published, Helen
Oelheim's did not appear.

It was a regular motion picture happy
ending when Miss Oelheim was informed
by Edward Johnson, who succeeded to the
directorship after Mr. Witherspoon's death,
that her contract had been confirmed.

As the head man of his own radio sta-
tion— on the screen — the always amusing
Jack Oakie is going to reveal some remark-
able things about radio. Indeed, while en-
gineers still hold out promise, but no
definite dates for the performance, of tele-
vision, Mr. Oakie will contrive some
wizardry whereby you will not only hear
such radio stars as Jessica Dragonette,
Amos 'n' Andy, Ethel Merman, to say
nothing of such double-starred personages
as Bing Crosby, and Burns and Allen, but
you'll see them as they broadcast — and it
will all be done in "The Big Broadcast of
1935."

WITH A FEW STIRS

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ScREENLAND'S Crossword Puzzle

By Alma Talley

ACROSS
Star of "forsaking All Others"
Star of "Enchanted April"
Frances Dee's "Mr."
The platinum blonde of "Reckless"
Female deer

Unsmiling comic of silent days

"Biography of a Bachelor

Comedienne
Girl"
Edible fish
To caution
To hasten
Encountered
That slippery fish
Fish egg

Wing of a house
To boil

The famous Sunnybrook farm girl
The noise a donkey makes
To be under obligation to
Past

Mrs. Joel McCrae
Crawford's boy friend
Tooth, of a fork
The ex Mrs. Doug Sr.
Crooning star of "Mississippi"
A golfing term

The girl who married Nick Stuart
Former comic, with give-in knees
Nickname for Yale
Indefinite pronoun
A number

Owing
Kind of
Cowboy
Shooter,
Donkey
Baton
Vulgar upstart
What you don

lights
star
etc. )

front of theatre
'Revenge Rider,'

"Square

t want on your toes

Ingenue in "Music In The Air.
Beverage
Fabulous bird

What you hear a talkie with
Floating ice
To make-believe

Only

Civil War soldier (slang)
What Mata Hari was
Something that goes with ham
Pole

Female sheep
Appeal

Co-star of "The Wedding Night"

Lump of matetial

Mickey Mouse's papa

Health spring

Sleek and silky

To sow

Stat who married Kenneth McKenna
Units of weight

9.
10.
•11.
12.
13.
15.
16.
19.
21.
28.
30.
31.
32.
33.
35.
38.
39.
40.
41.
42.
44.
45.
46.
47.

49.
51.
57.
60.
62.
64.
65.
67.
69.
70.
71.
72.
74.
75.
77.

78.
79.
81.
83.
87.
88.
91.
93.
95,

To make a speech
Ruby Keeler's husband
Jimmy Durante's "Schnozzle"
To sum up

A yes-man's forbidden word
Recent

Mrs. Stuart Erwin
Bone

Anaesthetic

"Hostess" in "Rugeles of Red Gap"
Sings with closed lips
To what place?
Wide

To depend upon
A beverage

Kind of lights used in film studios

The most famous Chinese girl in movies

Grandfather in "The Little Colonel"

What a conceited actor has too much of

Co-star in "After Office Hours"

Tirle role player in "The Little Minister"

You and I

Printers' measute

Slabs of baked clay

Vegetable

Terror

What you do at a mystery srory
Fortification

Heroine in "Clive of India"
Bebe Daniels' husband

Cagney's friendly enemy ("Devil Dogs of the
Air")

Printers' measures

Comedian in "Imitation of Life"

To observe

Moderately hot

To exist

To decay

Note of the scale

To put on, as make-up

Sharpened sides of razors or knives

Dancing co-star of "Roberta"

Utiah Heap's boss in "David Copperfield"

Fat

A type of whiskey
Meshed material
Newspaper photographer i

'After Office

Hours
Horses of
Co-star in
Hurried
Insect

To inquite
To speak
Compass point
Ma's husband
Toward

certain color
Naughty Marietta'

DOWN

1. Co-star of "One More Spring"

Solution to last month's puzzle
will be found on opposite page

for September 1935

Beauty in Garbo's Eyes

Continued from page 51

sheen to the eyebrows. Some blue-eyed
blondes like purple eye shadow for day-
time.

A light green eye shadow, as pale as a
new leaf in Springtime, is irresistible when
it's applied with discretion by a red-head.
There are other shades of green, too, toning
down to a dark rreen that is very flattering
to the girl blessed with coppery auburn
hair.

Black and brown are still the favored
shades of eye shadow for brunettes in their
daylight make-up, although purple is some-
times used. In evening make-up they can
go in for almost any shade, the selection
depending upon the gown.

Much is being made of iridescent eye
shadow for evening make-up. It gives your
eyelids a shining allure that can't help mak-
ing you feel gay ! One prominent beauty
specialist advises applying your regular
eye shadow and then touching it up with a
silver or gold shade to make the eyelids
shine.

There's a whole new cult built around
the selection of make-up shades to go with
each costume. Make-up bars are springing
up where you can go before some special
event and have yourself a special make-up
to go with the costume you are wearing.
Here's some of the shades they use :
amethyst mascara and eye shadow for the
purple gown; emerald to go with a pista-
chio shade of green; sapphire with pink
and brown; emerald mascara and smoky
pearl eye shadow with white ; and a final
touch of Stardust when you want to make
your eyelids glitter.

Eye shadows may he obtained in either
a compact or a cream form. The creamy
ones are especially in favor now because
fashion is partial to a shiny finish. Also,
the darker shades can be used for lashes
and lids both.

There are all sorts of attractive con-
tainers for eye make-up that you can carry
around with you. One looks like an over-
sized lipstick. One end screws around like
a lipstick and reveals mascara, eye shadow
and a neat little brush. There's a mascara
compact that features a sponge moistener
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Apply a little eye cream on the lids and
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Papa Is Head Man

Continued from page 15

of every French husband, took full and com-
plete charge of the frenzied embarkation.
Mama, a dutiful and no doubt ever-loving
wife, reposed sedately in one of the two —
yes, two, adjoining — Boyer state-rooms, and
had no more to say than one of the hat-
boxes. She walked, she smiled, she peered
at the brewery across the Hudson, as the
photographers suggested, but it was Papa
who directed and starred.

Yes — Papa is Head Man of the show.
That is to say, he is the regular French
husband of the old school. That is the
way such things are ordered in La Patrie —
and who shall say it is not a suitable ar-
rangement? Certainly not an American
husband of 1935 ! Monsieur rules the roost
— Madame is the helpmate, companion and
relaxation. Which is why the average
Frenchman and the modern American girl
usually blend like a couple of strange aire-
dales.

But a marriage like that of Charlie and
Patty is no zephyr, from any angle. Now
that Le Beau Boyer is a matinee-girl's de-
light on both sides of the sea, and fair game
for hordes of entranced maidens in two
languages, there is bound to be a certain
amount of stress and strain.

Fortunately, this hysterical adulation is
old stuff to M. Charles. For years he was
a Pet of Paris, with mademoiselles hurling
themselves into the Seine for love of him,
and he knows what to do when a wild-eyed
lass, with gladsome cries, lunges forth to
run him down. Today he merely takes up
the difficult career of a Dream Man where
he left off when he bogged down in the
Hollywood swamp a few years ago.

In fact, these two face a very nice life if
they can see eye to eye and can amble
amiably down Life's rocky pathway hand
in hand.

The little Pat is a Fox contractee, and
before starting east over the old Santa Fe
trail had just finished dealing with the
famous Charlie Chan in Egypt. Boyer has
an incredibly fine professional arrangement.
In America he is under personal contract
to Mr. Walter Wanger, who knew him and
his works abroad, and is not apt, therefore,
to cast him as a tap-dancer or a G-Man.
'Six months of the year he spends in Holly-
wood. During the past few months he made
"Private Worlds" and "Shanghai" for
Wanger, and even went on loan to RKO,
where he was literally co-starred with Hep-
burn in "Break of Hearts" — the first time
The Freckled One has shared billing since
she first flashed into films.

In fact, we now know that M. Charles

Walter Abel, chosen to portray
General U. S. Grant in a film
drama of the Civil War hero.

practically stole the picture from The New
Bernhardt, thus giving her a spoonful of
the bitter medicine she administered to
Barrymore in "A Bill of Divorcement."
And he is an ardent admirer of Hepburn —
her seriousness, her contagious enthusiasm
and zeal, her exceptional gift for play-acting.
He hopes, he told me, to do another with
her next fall, if only RKO can exhume or
confect a proper story.

The other six months, making twelve in
all, Monsieur may spend in his native land.
This summer he is to do two pictures or
one picture and one play, as the dice fall,
thus being able to keep his admirers white-
hot on both sides of the Atlantic. Sacred
name of a pipe, is this not an arrangement ?

La Petite Paterson goes abroad for the
vacation only, on three months leave from
the Fox corral. She will thus return to her
Hollywood chores before the lord and
master. But separations are not novelties
to the pair — out of the first year of marital
bliss, they spent but four months together.
The rest of the time Boyer was abroad
making "The Battle" and other matters.

Boyer seems to me to be a very nice guy
indeed. If there's no conceit about him,
there's plenty of assurance. He gave me
the idea that he knows all the answers, but
he doesn't shout them. After all, he's been
a top man a long time, and has been well

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buttered by admirers. He's good-looking,
but no beauty. His black thatch is thin-
ning above the eyes. He's a cool bird,
but his amiability and charm make you
like him.

Boyer is quite startled by the lack of con-
ceit among American actors, and don't
laugh. What he means is that in France
a popular star is a being apart and above,
and struts like a drum-major in the public
eye. The crowd expects it. One of Charles'
particular Hollywood wonders is Joel Mc-
Crea. He cannot get it through his head
that a handsome and popular young mammal
like McCrea doesn't pose and preen like a
peacock.

All in all, my experience of this M. Boyer
is most pleasant. He doesn't take the Dream
Man business too big, for he was in active
practice as a Dream Man long before he
heard about the gold strike in the Hollywood
hills.

With three successful films "in the bag,"
as the French say, he is now re-fluttering
the hearts of La Patrie. With the first frost
he returns to us, alors, at which time he will
resume his career as a bowler-over of our
own susceptible sweeties.

I regret that I cannot report, at this time,
on Miss Patsy Paterson's illuminating _ re-
marks on the Gotham skyline and American
men. After all she is Madame Boyer, and
one's wife is — well, one's wife, no? If and
when she emerges from the golden haze
which surrounds the Dream Man, I shall
be glad to regale you with cheery little
anecdotes on how it feels to be the spouse
of an Idol of Two Continents.

Inside the Stars' Homes

Continued from page 9

helped set the card table for our pictures.
She pushed one of the oddly-backed chairs
out of the way and remarked that it was
from Jack's beach cottage, but she brought
it up here. "It saves Jack storage — lots
of this stuff is his," she added, smiling.

Bee's bright black face beamed at me.
She was ready to confide any sandwich
secret.

For the checkerboard sandwiches, she
cuts slices of white and whole wheat bread
about half an inch thick. Make two butter
sandwiches of two layers each, using a
slice of dark bread and a slice of white.
Then make a sandwich reversing the
colors. Cut each sandwich into strips half
an inch wide. Place together, alternating-
strips, one from each sandwich so that
a square of dark bread is opposite a square
of white bread, having buttered the strips
before placing them together. Place under
a weight until the butter is firm, then be-
ginning at the end cut the strips into slices.

Sometimes Bee slices her bread the long
way of the loaf, cutting off all the crusts,
and makes different colored fillings,
pimento cheese, watercress, cream cheese,
etc. Then she rolls her bread and slices
it down into ribbon sandwiches.

Dolores Del Rio, who is always interested
in new dishes, was especially delighted with
one of Bee's specials, called Schaum Torte.
Here it is :

Schaum Torte
3 egg whites
1 tablespoon vinegar
1 cup sugar
1 teaspoon lemon juice

Beat egg whites until stiff, add vine-
gar and lemon juice. Beat in the sugar
gradually and continue beating fifteen

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minutes. Bake in cool oven forty
minutes or until when lifted from pan
the torts do not break. Use muffin tins.
Serve with fresh raspberries topped
with whipped cream, or with any de-
sired fresh or canned fruit.

"When I was a child, my favorite parties
were always birthday parties," remarked
Virginia. "I remember I used to meet my
small guests at the door and cry : 'What
did you bring me?' That's all I cared
about then, selfish little wretch that I was !
And now my next adventure in entertain-
ing is to be my baby's second birthday
party. I'm going to have all new patio
furniture and invite her best boy friends,
little Gary Crosby and Ricky Aden and
some other tiny children. Perhaps she'll
behave better than I used to do. We'll see !

"Bee is going to make marshmallow
turtles for the babies. Susan adores them.
You flatten the marshmallows and stick
cloves in for feet — and I hope the guests
won't choke on the cloves ! On second
thought, maybe turtles aren't such a bright
idea.

"As I said before, I don't know a thing
about entertaining. But Bee does, so it's
all right."

"Virginia has been having the 'flu,' ob-
served Mrs. Briggs, Virginia's mother,
coming in to cast a maternal eye over the
preparations. "She has lost eight pounds
and it worries me, but she is simply de-
lighted."

"Oh, but it's so good on the figger ! All
the girls would like to lose eight pounds,"
commented Virginia, dancing down the
living-room in time with the song Bing's
record was singing.

"I know," sighed her mother, "but it's
too bad. They are risking their health. I
hope girls outside pictures aren't so foolish,
or what will become of this country?"

"Don't start worrying about the country
— worry about me, and I'll worry about
Susan, and Bee can worry about you,"
Virginia laughed.

Her mother turned to me.

"There's a dessert that won't make girls
take on weight and yet is good for them,"
she observed. "Virginia's very fond of it.
It's baked honey apple.

"You core good baking apples and fill
the centers with chopped nuts, dates and
raisins mixed with honey. Add 1 table-
spoon of honey extra and 2 tablespoons of
water for each apple and bake a long time
in a slow oven. If the apple seems to need
it, put in more honey and water as it bakes.

"But I think some pound-producing food
wouldn't hurt any girl !"

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Salutes and Snubs

Continued from page 64

WISCONSIN'S PROUD OF
FREDDIE

Wisconsin can claim many top-notch stars
as native sons and daughters, but one tops
them all. Romance, comedy and tragedy
are portrayed with the greatest of ease by
this dashing young man, if you please. We
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Lucy Wasilawski,
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Milwaukee, Wise.

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PICKING THE "BEST"

When the time comes to pick the best pic-
ture of the year, I'll bet my new hat that
"Black Fury" will lead the list. A unique
theme, splendid direction, ideal photography
and perfect dialogue, coupled with the fin-
ished acting of that star of stars — Paul
Muni.

Doris Miller,
620 North Graham St.,
Charlotte, N. C.

POWELL'S PERFECT
PERFORMANCE

_ Here is my Salute to William Powell for
his convincing performance in the opening
scenes of "Reckless." He really looked, and,
more remarkable, sounded sleepy. The
school of pretty yawns and broken murmurs
could profit by observing Bill.

Peggy Baum,
304 Lido Apts.,
Santa Monica, Calif.

BETTER 'N BETTER SHIRLEY

Shirley Temple gets better and better
with each film, and she was a wonder to
begin with. So often players — whether
child or adult — come to a ' standstill or
rest_ on past laurels, once they become rec-
ognized "stars."

Leslie E. Dunkin,

Wolcott, Ind.

CHEERS FOR CHARLIE CHAN

Here's a Salute to Warner Oland and
his Charlie Chan characterizations. His
portrayals are becoming more sincere and
ingratiating with each release. Oland makes
these excellent stories interesting and in-
telligent entertainment.

Betty Patterson,
6319 Monitor St.,
Pittsburgh, Pa.

THAT'S GRATITUDE

I am thankful to the movies for giving
us such an honest, natural, and down-to-
earth personality as Bing Crosby. He gives
us just the right amount of music, love in-
terest, and plot, in all his pictures.

Cecilia Joseph,
No. Vassalboro, Me.

ACE-STAR ASTAIRE

A boom, boom Salute to Fred Astaire,
spectacular, sensational, superlative stepper !
He merits his rating as Hollywood's bright-
est star and America's Own Song and
Dance Man. Fred is a personality power-
house. He keeps getting bigger, better,
brighter than ever. He's positively Tops!

LeRoy Rice,
40 East Orvis St.,
Massena, N. Y.

AFRICA SALUTES US!

Thanks ! Yes, we have a lot to thank
America for, . and foremost are your films.
Living in a lonely town one appreciates
them more than city dwellers. Who is bet-
ter fitted to charm the male populace at
large than Loretta Young? Also, what's
this bunk about "Yankee twang"?

Dick Griffiths,
Ndola, Northern Rhodesia,

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SCREENL AND

Me!

Telling you the answers to
your questions about screen
players and their pictures

Miss Vee Dee

Bosclle E. I'll see what can be done
about having a picture in our Art Section
of Baby Jane, known in private life as
Juanita Quigley. She played with Claud-
ette Colbert in "Imitation of Life" and her
newest film is "Straight from the Heart"
with Roger Pryor and Mary Astor. Jean
Parker was born on August 11, 1915. She
is 5 feet 3 inches tall and weighs 105
pounds. One of Anne Shirley's latest re-
leases, "Chasing Yesterday" is from the
novel, "The Crime of Sylvester Bonnard"
by Anatole France. With her in the pic-
ture are O. P. Heggie and Helen Westley
who played with her in "Anne of Green
Gables." "Chasing Yesterday" was the
last picture of Trent Durkin, who met a
tragic death in a motor accident with the
father of Jackie Coogan.

Lucille G. There must be some mistake
about Irene Dunne signing up as a "school
marm." She is too busy working in pic-
tures, doing her daily vocalizing for musical
films and stuff, to add school teaching to
her activities. After a vacation in New
York she will appear as Magnolia in the
screen version of "Show Boat" for Univer-
sal Pictures. Then she will star in "Magni-
cant Obsession" also for Universal. As
far as I know, David Holt is not scheduled
for another picture just now. David was
born on August 14, 1927, in Jacksonville,
Fla.

How would you like to see Katharine Hepburn's little sisters on the screen?
Here they are, Margaret, Marion, and their mother, Mrs. Thomas Hepburn,
arriving in England for a vacation abroad.

Eleanor Powell, Robert Taylor, and
June Knight, appearing in "Broad-
way Melody of 1936."

Roma D. Your cry for help has reached
me and I'll do all I can to "still your beat-
ing heart." Your Romeo of the screen,
Cesar Romero, was born in New York City
on February 15, 1907. He is 6 feet 2 inches
tall, weighs 170 pounds, and has black hair
and brown eyes. Cesar was educated at
the Collegiate school in N. Y., the Rose-
dale Country School at Rosedale-on-Hud-
son but did not enter college. After leaving
school he worked in the National City
Bank of New York. One night he was
asked by a girl at a night club to be her
dancing partner. From then on he became
a very popular ballroom dancer. In 1927
he commenced his stage work in "Lady,
Do !" He played in "Street Singer" and
danced at various night clubs until 1930.
His first screen work was in "Strictly Dis-
honorable," "All Points West," "Social
Register" and "Cobra," and in 1934 and 35
he played in "Dinner at Eight," "The Thin
Man," "British Agent," "Cardinal Rich-
elieu," "The Devil is a Woman" and "Hold
'Em Yale."

Buddy Rogers Fan. Five years ago
Buddy was receiving thousands of fan let-
ters a month, and if his new releases are as
well received as he hopes they'll be, his
fan mail will make Uncle Sam call for more'
and better letter carriers. His new picture
is "Dance Band" with June Clyde ; and his
next, recently completed, will be "Old Man
Rhythm" with Barbara Kent, Betty Grable,
and Grace Bradley, for RKO-Radio.

Helen Louise. I haven't any intimate
information about James Bush who played
in "Crimson Romance" as Ben Lyon's Ger-
man pal and also in "Young and Beautiful"
with William Haines. David Manners is
now working in "Jalna," an RKO-Radio
picture, with Kay Johnson, Ian Hunter,
and Peggy Wood. Myrna Loy says she
was born August 2, 1905, in Helena, Mont.
She has red hair and green eyes. Claud-
ette Colbert's official birth-date is Sept.
13, 1907. Her next picture will be "She
Married Her Boss." That title may be
changed before release.

Irynne. Richard Cromwell has a con-
tract with Paramount and his new picture,
"Annapolis Farewell," also features Sir Guy
Standing, Rosalind Keith and Tom Brown.
Richard has appeared in "Tol'able David,"
"Maker of Men," "That's my Boy" for
Columbia Pictures ; and "Age of Consent"
for RKO-Radio Pictures. And of course
you remember him in "Lives of a Bengal
Lancer," for Paramount.

Dorothy B. I don't believe you see so
many issues of Screenland without a pic-
ture of Jean Parker. She was 20 years
old on August 11. Jean can throw the
javelin, pole-vault, play hockey, swim, and
ride a bike, too. And how she can run —
she once ran 100 yards in 12^ seconds.
She has appeared in "Sequoia" with Russell
Hardie, "Princess O'Hara" with Chester
Morris, and many more films.

W miff » w***

sis***'

A ROLE LOMBARD

"^7"ES, I use cosmetics," says
X Carole Lombard, "but
thanks to Lux Toilet Soap, I'm
not afraid of Cosmetic Skin!"

This lovely screen star knows
it is when cosmetics are allowed
to choke the pores that trouble
begins — tiny blemishes appear
— enlarging pores — even black-
heads, perhaps.

Cosmetics Harmless if
removed this way

To guard against unattractive
Cosmetic Skin, always remove
cosmetics thoroughly the Holly-
wood way. Lux Toilet Soap has
an ACTIVE lather that sinks

TTi

deep into the pores, safely re-
moves every vestige of dust, dirt,
stale cosmetics. Before you put
on fresh make-up during the day
— ALWAYS before you go to bed
at night — use the gentle, white
soap 9 out of 10 screen stars have
made their beauty care for years.

I'M A LOMBARD \
FAW-lU NEVER 1
WAVE UG-LV j
COSMETIC SKIN J

BECAUSE I USE

Lux Toilet Soap

AS SHE DOES.
KNOW IT KEEPS
SKIM LOVELV I

THE CUNEO PRESS, INC., CHICAW

he Smart Screen Magazine

FN
M

October

Carole Lombard

Garbo Really Talks in Exclusive Interview!
Carole Lombard's Real Life Story

ALABAMA GIRL WITH PERFECT TEETH SAYS:

"Only Listerine Tooth Paste for me . . .
it keeps teeth so white and lustrous"

OUre looking at Miss Josephine Kidd of
Birmingham, Ala., who came to New York on a
flying visit but stayed to pursue a successful career as
a photographer's and artist's model. Her fine, white
teeth— perfect, if you please— won her first job for her.

"Our family has used Listerine Tooth Paste for
years," says Miss Kidd. "I think it is the most effec-
tive and safest dentifrice I ever used. I give it most
of the credit for the healthy condition of my teeth
and gums. And it's so economical!"

If you've not tried Listerine Tooth Paste, do so

now. You will be delighted to find out how quickly
and how thoroughly it cleans teeth without harming
precious enamel. You'll like the sparkle and lustre
its modern polishing agents impart to tooth surfaces.
And you will welcome that marvelous feeling of
mouth freshness that follows its use. LAMBERT
PHARMACAL Company, St. Louis, Missouri.

[

TO USERS OF TOOTH POWDER
Your druggist has a new, quick-cleansing, gentle-acting, en-
tirely soapless tooth powder worthy of the Listerine name.
Listerine TOOTH POWDER 2% oz. 25£ J

REGULAR LARGE SIZE 25^ DOUBLE SIZE 40*

Screenland for October 1935

THE YEAR'S OUTSTANDING ROMANTIC COMEDY!

It happened in jMLexico when two
fugitive young lovers went over the
horder and then found out that they
couldn t get back! You 'll roar with
laughter at the fast-moving series
of amusing difficulties that almost
wrecked their motor trailer and their
constantly interrupted romance

1 'f&f^''''^ '

HARRY M. GOETZ presents
cS die a r Jt dfm all pro J u c I

BARBARA

IIbdSmutb

ROBERT YOUNG

HARDIE ALBRIGHT • RUTH DONNELLY
CLIFF EDWARDS • GORDON JONES
PAUL STANTON

ff\ d**R.eliance (^Picture

Directed by
SIDNEY LAN Fl ELD

Released thru

UNITED ARTISTS

The Smart Screen Magazine

Delight Evans, Editor

Elizabeth Wilson, Western Representative

Tom Kennedy, Assistant Editor

Frank J. Carroll, Art Director

at Every Girl
Can Learn From
Joan Crawford

In the next issue we will give you a
story about this famous star which
should be read by every girl and
woman who has hoped and dreamed
and planned for success! The admi-
ration of every American with ambi-
tions, Joan Crawford has fought her
way from obscurity to fabulous suc-
cess; and her struggle and achieve-
ment contain a message for everyone
with ideals and aspirations.

Many stories have been wriiten
about Joan, but we sincerely believe
that this one — to appear in the No-
vember issue of Screenland, on sale
September 25 — is the most important
of all, because it will help the army
of Crawford admirers to understand,
and perhaps in some measure to emu-
late, their idol's great success, in life
and in work.

October, 1935

Vol. XXXI. 'No. 6 7

EVERY STORY A FEATURE!

The Editor's Page Delight Evans

Garbo Really Talks Hettie Grimstead

I Won't Be A Hollywood Hero. Randolph Scott Dickson Morley

Their Own Worst Critics Dorothy Manners

Merrily She Rolls Along. Beginning Carole Lombard's Real Life

Story Elizabeth Wilson

High-Flying Hollywood Ben Maddox

Danger! Genius at Work. Charles Chaplin.. ..Margaret B. Ringnalda

On the Trail of Traveling Stars Leonard Hall

Dick, Today. Richard Arlen Ruth Rankin

Mr. Temperament. Claude Rains Hilary Lynn

Glamor Takes a Holiday Margaret Angus

A Star is Made. Fiction Thyra Samter Winslow

This Business of Being an Actor. Roger Pryor Maude Lathem

Reviews of the Best Pictures Delight Evans

Screenland Glamor School. Edited by Patricia Ellis

13
14
17
18

20
22
24
26
28
29
30
32
51
52
54

SPECIAL ART SECTION:

Triple-Threat Picture. Miriam Hopkins, Edward G. Robinson, and Joel
McCrea in "Barbary Coast." In Demand. Nelson Eddy. By Request.
Joan Crawford. Sing, Darn You, Sing. A Gay Kay. A Masterful
Muni. To the Babies. Girl in a Garden. Josephine Hutchinson. Irish-
man at Ease. Pat O'Brien. Costume-Crazy. Newcomer. Come-
Backs. The Most Beautiful Still of the Month.

DEPARTMENTS:

Screenland's Crossword Puzzle Alma Talley 6

Inside the Stars' Homes. Jeanette MacDonald Betty Boone 10

Salutes and Snubs. Letters from Readers I I

Honor Page 12

Hollywood Figure James Davies 56

Beauty Turns Toward Color. Beauty Article Elin Neil 57

Here's Hollywood. Screen News 58

Radio Parade Tom Kennedy 62

Ask Me Miss Vee Dee 77

Femi-Nifties 84

Tagging the Talkies. Short Reviews 98

Cover Portrait of Carole Lombard by Charles Sheldon

Published monthly by Screenland Magazine, Inc. Executive ana Editorial offices, 45 West 45th Street, New York City. V. G. Heimbucher, President; J. S.
MacDermott, Vice President; J. Superior, Secretary and Treasurer. Chicago office: 400 North Michigan Avenue, Chicago. Adv. Representative, Loyd B.
Chappell, 511 S. Alexandria Ave., Los Angeles, Calif. Manuscripts and drawings must be accompanied by return postage. They will receive careful attention
but Screenland assumes no responsibility for their safety. Yearly subscription $1.50 in the United States, its dependencies, Cuba and Mexico; $2.10 in Canada;
foreign $2.50. Changes of address must reach us six weeks in advance of the next issue. Be sure to give both the old and new address. Entered as second-class
matter November 30, 1923, at the Post Office at New York, N. Y., under the act of March 3, 1879. Additional entry at Chicago, Illinois. Copyright 1935.

Member Audit Bureau of Circulations .
Printed in the U. S. A.

for October 1935

6ARB0

"ALL THAT I KNOW.. . I KNOW BY LOVE ALONE

The heart of a man called to the heart of a
woman. "We love", it said, "and love is all."
Heart answered heart. With eyes open to
what she was leaving forever behind her,
she went where love called... to dark de-
spair or unimaginable bliss. It is a drama of
deep, human emotions, of man and woman
gripped by circumstance, moved by forces
bigger than they— a great drama, portrayed
by players of genius and produced with the

fidelity, insight and skill which made"David
Copperfield" an unforgettable experience.

F R

BARTHOLOMEW

(You remember him as "David Copperfield")

with MAUREEN O'SULLIVAN
MAY ROBSON • BASIL RATHBONE

CLARENCE BROWN'S

Production

A MetTQtGoldwyn-Mayer Picture . . . Produced by David O. SelznICK

l ... ._ ' - .. .. . . .■■:■.„ . . *r _„:■; *r ,. < „;.,'. „. - ; . ... f ... ..... .: \ . , . _ i ■- — — -i

SCREENLAND

TEST.. .the PERFOLASTIC GIRDLE

. . . at our expense !
■■Hi

»<J have
REDUCED
y H I PS
9 INCHES"

. . writes Miss Healy.

SCREENLAND'S Crossword Puzzle
By Alma Talley

l?E?f%li^e your waist
l%CErlfi%C AND HIPS

J INCHES DAYS

9 IN 1W OR

... /t costs you nothing!

WE WANT you to try the Perfolastic
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Reduce Quickly, Easily, and Safely!

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of tiring exercises and dieting. Worn next to the
body with perfect safety, the Perfolastic gently mas-
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Don't Wait Any Longer. . . Act Today!

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Please send me FREE BOOKLET describing and illustrat-
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perforated rubber and particulars of your 10 - DAY FREE
TRIAL OFFER.

Name

A ddress

Use Couvon or Send Name and Address on Penny Post Card

25.
27.
28.
30.
31.
32.
33.
34.

36.

40.
41.
42.
44.
45.
47.

49.
51.

53.
56.
57.
58.
59.

60.
62.
64.
66.
68.
69.
71.
72.
74.
76.
77.
79.
81.
82,

84,
86
87,

89
91
93
94
96

ACROSS
Virginia Cherrill's
Residence

Blonde star of "Reckless'
Light boat
Fine fabric
Frequently
Projecting windows
Born

To gossip
Decay
Ingenue
Air"
"Came the-
Donkey

Exclamation of grief
Accomplish

Word forbidden to Yes-Men
Horse's gait
The, in French version
Pronoun, slang for sex
appeal

Actress featured in "Woman

In Red"
To proceed

Canadian province (abbrev.)
Monkeys

Bebe Daniels' husband
Glide along, as a stream
What the hero puts around

the heroine
Horse's hair

Featured actor in "Grand

Old Girl"
Priest's vestment
Mrs. Joel McCrea
Dock

End of a prayer
Former Co-Star of Bill

Powell ("Thin Man")
Traded for money
Wise old bird
Prepare for publication
Compass point (abbrev.)
Of, in French
Bend the knees
Near

Exclamation
Prong
Pa's wife
Exclamation
Dirty water
According to
.Leading lady, "George

White's 1935 Scandals"
Cut with sword
Reverence

What stars do when they're

"through"
By way of

Brothers Frank and Ralph
Vestige
Copper coin
Fortune Tellers

DOWN
Bill Powell's "Ex."
Ingenue in "Lady Tubbs"
Fish eggs
Cry out

Ruby Keeler's husband and

co-star
Crooning star of
"Mississippi"

7. An

8. Act

9. Printer's measure

10. Co-star of "No More

Ladies"

11. Newt

12. Oil from rose petals

13. He sang love songs to

"Naughty Marietta"

14. Semi-precious stone
17. Where birds live
19. Woebegone

21. A pair

24. Negative

26. Mrs. Leslie Fenton

29. Small drink

32. Also

35. "Curly Top"

37. Exotic leading lady from

Tasmania

38. Exist

39. To take in bteath

42,
43.
45.
46.
47.
48.
50.
52.
54.
55.
61.
63.
65.
66.
67.
69.

70.
72.
73.
75.
76.
78.
80.
82.

83.

84.
85.
88.
90.
92.
94.
95.

She's famous for gold-dig-
ging roles ("In Caliente" )
Lady thief in "Black Sheep"
Remarked
To escape
Mickey Mouse's pa
Public notice ' (aDbrev. )
Note of the scale
Compass point (abbrev.)
Part of to be
Behold!
Near

Short poem
You and I
Possessive pronoun
Begin

Actress in "Alias Mary Dow"
Woman lead in "Living On

Velvet"
Piece of land

Star of "Scarlet Pimpernel"

Uncloses

Native

She's "Goin' to Town"
A bad actor
Type of beer

Dancing co-star of Ginger

Rogers
Always
Drooped
Nonsense!
What you skate on
An ex-wife of John Gilbert
Female sandpiper
Paid (abbrev.)
Biblical pronoun

JOAN

ANN

J OEM

Answer
to
Last
Month's
Puzzle

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IDEIH HCintD E3E0EJ EUK1
BSD EBB BDH

shhe3 QBaaaHH SHOD

HE3B ElEa HHH

0DK1H HQS SHH HBQGS
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SUES HBE1S

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D I S N E VUS P AWS A T I N Y

for October 1935

"PAGE MISS G L 0 R T

Look who's Marion's new screen
sweetheart . . . Yessir, it's Hick
Powell! And when he sings to Marion
he does things to hei and you!

SHE'S back, boys and girls! Back with that glamorous gleam
in her eye . . . that laughing lilt in her voice . . . that
merry,magicalsomething that makes her the favorite of millions.

Of course you read the headlines a few months ago about
Marion Davies' new producing alliance with Warner Bros.,
famous makers of "G-Men,' and other great hits. Well, 'Page
Miss Glory' is the first result of that union — and it's everything
you'd expect from such a thrilling combination of screen talent!

It's from the stage hit that made Broadway's White Way gay — a
delirious story of Hollywood's 'Composite Beauty' who rose
from a chambermaid to a national institution overnight . . .

It has a 12-star cast that makes you chuckle with antici-
pation just to read the names . . .

It has hit-maker Mervyn LeRoy's direction, and Warren &
Dubin's famous song, 'Page Miss Glory'

It has 'Picture-of-the-Month' written all over it!

Don't think you're dreaming! All these celebrated
stars really are in the cast of Marion's first
Cosmopolitan production for Warners:— Pat O'Brien,
Dick Powell, Frank McHugh, Mary Astor, Allen
Jenkins, LyleTalbol, Patsy Kelly, and a dozen others.

...and you'll find magical
Marion Davies in her first
picture lor Warner Bros,
—her finest for anybody!

SCREENLAND

for October 1933

IT HAS BINC CROSBY!

Singing the hit song, "I Wished on the Moon"

SCREENLA N D

A prima donna entertains! Above and right, lovely Jeanette presides at
one of her famous after-theatre suppers.

Jeanette MacDonald's after-theatre sup-
pers are events in Hollywood! The song-
bird tells you her hospitality secrets

By Betty Boone

EANETTE MacDONALD has a beautiful Mon-
terey house in Brentwood. The lawn, shaded by
gray-green olive trees, is enclosed in a white picket

fence which has electrically controlled gates to be
opened only from the house. But there's a "little gate"
beside a row of scarlet-flowering ecualyptus that leads up
the flagstoned walk to the door.

At the right of the entrance hall with its knotty pine
walls, is the dining-room, and here Jeanette, in violet satin
hostess pajamas, greeted me gaily.

"At last I've found a table to fit my tablecloth !" she
exulted, indicating the soft linen on which the after-theatre
collation was set. "I bought it several years ago in Chicago
and have never been able to use it before. I'm crazy
about linens and simply can't resist them. I never stop
to think where I'll be able to use them. I have an ador-
able organdy cloth with delicate lace inserts — I use silk

rayon undercloths in any color that appeals to me and
it's all 'too-too' for words. But the organdy napkins are
horrible to use !

"Tonight we're having Napolitan Spaghetti, Chicken
a la King, vegetable salad, devilled eggs and sandwiches.
Sounds very hearty, doesn't it? But this just isn't a
woman's meal. Spaghetti is a favorite dish of mine and
men always like it. They usually hate salads. I like to
serve my spaghetti with the sauce separate, either a mush-
room sauce, or tomato, or just drawn butter.'"

Napolitan Spaghetti
Boil % pound of spaghetti in boiling, salted water to
which has been added one onion stuck with 2 whole cloves
and 1 tablespoon butter ; drain and place in a saucepan
with 1 cup tomato sauce, Yi cup chopped boiled tongue,
]/2 cup grated Parmesan cheese {Continued on page 86)

for October 1935

UteS and

Snub

Special — this month!
Battle of the singing
beauties! Speak your
mind about movies

win a prize

]

Beauty No. I: Irene Dunne.
First lady to bring a lovely
voice as well as beauty to the
screen. Is lovely Irene, since
"Roberta," still foremost?

The first six letters receive prizes
of $5.00 each

WANTS SCIENTIFIC

SCENARISTS

The world is going scientific. On every
side one can see the great advances of sci-
ence. Why not, then, have more pictures
dealing with inventions, discoveries, medi-
cal cures, and planetary adventures ? These
pictures could not only deal with present-
day knowledge, but also with imagined fu-
ture accomplishments. Give us something
different!

William W. Anderson,

550 Prospect Ave., S. E.,

Grand Rapids, Mich.

MORE GRACE THAN MOORE?

Irene Dunne's singing in "Roberta" was
beautiful to "see" as well as hear. The
beauty of Miss Dunne's voice is enhanced by
her beautiful facial expression as she sings
— there are none of the strained and
wrinkled expressions all too common among
singers. She can even out-grace Moore !

Elmer H. Mayer,
6314 Fifth Ave.,
Pittsburgh, Pa.

HE HATES THE HORRORS

I'm conducting a one-man boycott against
horror pictures. Months ago I saw "The
Thin Man;" last week I saw "The Bride of
Frankenstein" and "The Werewolf of Lon-
don." Comparison convinces me that a
mystery movie may be absorbing and enter-
taining without an aftermath of goose
pimples and jittery nerves.

Hoke Wynn,
West Bay Annex,
Jacksonville, Fla.

IN PRAISE OF A SONG-BIRD

Bravo, Grace Moore ! Your splendid sing-
ing and excellent acting in "Love Me

Forever" tops those of "One Night of
Love." I thought that impossible, but no.

Thanks to the technicians responsible for
recording your glorious voice for the screen.

Milly Buranitz
329-S9th St.,
Brooklyn, N. Y.

PRETTY GOOD PICKING

My selections for the best pictures of the
season :

Best comedy: "Doubting Thomas;" Best
Historical: "Richelieu;" Best Drama:
"Black Fury;" Best Musical: "Naughty
Marietta;" Best Mystery: "The Mystery
of Edwin Drood ;" Best Classic : "David
Copperfield;" Best Children's: "Dinky;"
Best Nonsense : "Nitwits."

Paul Boiler,
218 Massey Ave.,

Watertown, N. Y.

THE CALL TO TECHNICOLORS

For the second time in my life, movies
have spoiled me. First with the innovation
of Talkies — now with "Becky Sharp."
The color process takes the former ghost-
like shadows of the screen and transfigures
them into flesh and blood beings.

Imogene Bing,
604 E. Rich St.,
Columbus, Ohio.

RANDY ON THE HIGH ROAD

I believe Randolph Scott is the hand-

somest and most
screen. When he
about three years
exceptionally good,
tures I thought he
to you, Randolph !

delightful man on the
first started his career
ago, his acting wasn't
Yet in his recent pic-
was marvelous. Here's
You've a grand future.
Bill Carden,
721 Ross St.,
Santa Ana, Calif.

HUMANIZING MARLENE

Marlene Dietrich is a colorful personal-
ity and a good actress. And now that von
Sternberg is no longer her Svengali, why

Beauty No. 2: Grace; Moore.
Since "One Night of Love"
Miss Moore has rivalled
Miss Dunne's supremacy.
Will "Love Me Forever" in-
sure her vocal supremacy?

can't her new director remake her into some-
thing less arty — and give her to us in a more
vibrant yet downright human role?

Leah Stephens,
42 Linda Ave.,

Oakland, Calif.

HOPES OF A BOYER FAN

Charles Boyer certainly is growing to be
a screen favorite, as a lover, hero, and
comedian. In "Break of Hearts" he won
many new fans to his fine talents. I hope
he will always remain a screen favorite.

Barbara Allen,
26 North Walcott,
Salt Lake City, Utah

SAW A DREAM DESCENDING!

I sat through "Reckless" twice just to see
Rosalind Russell descend the steps in her
bridal attire — she looked like one of the
inspirational visions that you often read
and dream about. Please let us see her more
often and in more important roles.

J. Chosa,
820 East Mason St.,_
Milwaukee, Wis.

Here's where you readers tell what you think
about films and film stars! Everything interesting
and important concerning players, pictures, trends
and ideas comes up for discussion.

Whether it's a Salute or a Snub that is on your
mind, send it along. Your thoughts may be worth
money to you — $5.00 in cash if your letter is judged
among the six best for the month. So hurry along
with your letter. Make it brief — fifty words is the
maximum — and let it say simply what you think.
It's the thought, the idea, not the fancy presenta-
tion that counts with the judges in naming the
winning letters.

Mail letters to: Letter Dept., SCREENLAND, 43
West 45th St., New York, N. Y.

Screen land

SCREENLAND Honor Page

THERE'S nothing like the excitement of "discovering" a new
screen personality! You sit in a darkened theatre hoping for
the best, but not too optimistic. You've heard of these "great
new finds," these "sensational foreign newcomers" before — and this
one had better be good! "This one" is Metro-Goldwyn-Mayer's new
wh te hope, Luise Rainer, pronounced "Ry-ner." She makes her first
appearance in the entertaining "Escapade" as the quietly charming
companion to an old countess, in the longest introductory scene ever
played by a new Hollywood heroine; and before that scene is over,
the audience is hers, to have and to hold as long as she can be as
original, as quaint, as demurely devilish as that! La Rainer has her
Bergner moments, but she is very much herself most of the time; and
we want to go on record as predicting a remarkable future for her,
if she keeps her head and holds our hearts as she does in her debut.

To the Loveliest New Girl
on our Screens, Luise
Rainer, who Makes our
"Escapade" with her an Ad-
venture of Sheer Delight

Elfin? Demure? Delicious?
Impish? Just what is Luise
Rainer's particular charm?
Whatever it is, she has it in
abundance.

Actress of many moods,
the new star can be as
gently wistful as an April
day — and as alluring as a
soft Summer night.

Only Rainer could
play this new style
artist's model, oppo
site William Powe

for October 1935

Advance Report on the Most Impor-
tant Preview in Motion Picture History!

HERE'S something BIG!
The most important preview in screen history
has just been held, and I want you to be
among the first to know about it. "A preview?" you
say. "What's so wonderful about that?" Wait! This
is not just another picture showing — but the preview
of the year; of any year; of all the years since "The
Great Train Robbery" first awakened amusement-
seekers to the existence of a strange, exciting new
entertainment called "The Movies." Millions of feet
of celluloid have unwound since then; and there have
been certain high spots: Griffith's "The Birth of a
Nation" and "Intolerance," for instance; Chaplin's
"The Kid;" Cecil DeMille's "King of Kings;" and more
recently, the first all-talking picture, "The Jazz
Singer." If you are, as I am, movie-mad, cinema-
conscious, picture-crazy, call it what you will, you
have regarded each of these films as a memorable ex-
perience, rather than a pleasant way to "kill an
evening." So you will understand me when I tell you
that I have just had a rather glorious adventure
watching a new motion picture unfold in a bare,
businesslike projection-room — an adventure shared
with a mere handful of insiders, but to be shared,
eventually, by all of you who love pictures.

This occasion was a secret and exclusive preview
of Max Reinhardt's screen production of "A Mid-
summer Night's Dream," produced by Warner
Brothers — the same producers who gambled on talkies,

Stars in their own right,
Joe E. Brown and James
Cagney, gladly become
members of the cast in
Max Reinhardt's mighty
motion picture of Shake-
speare's fantasy. Right,
Joe Brown as Flute, Cag-
ney as Bottom.

"A Midsummer Night's
Dream" has been pre-
viewed only to a select
few; but already it is the
talk of Hollywood. Read
about it here. Above,
Olivia de Haviland and
Dick Powell as Hermia and
Lysander; left, Mickey
Rooney as Puck.

and won. This time they are taking a greater gamble
— on Art. I hope they win again; and I think they
will, because thanks to their acumen in lavish casting,
to Reinhardt's supervision, and to one Will Shake-
speare, they have not only attained Art, but They
Got Entertainment!

To say I was thrilled with "A Midsummer Night's
Dream" is the height of under-statement. It is an
incredible, eery adventure in pure fantasy: a dream
of dazzling beauty, a rowdy circus, an enchanting
spectacle, a robust, earthy riot. Imagine a cast in
which such stars as Cagney, Dick Powell, and Joe
Brown are among those present; in which the most
exquisite newcomer in years, Olivia de Haviland, is
introduced quietly, in character rather than close-ups;
imagine, in other words, Hollywood bowing to Shake-
speare, and you have some idea of this picture.

Yes — now we come to Shakespeare. Don't duck!
And you won't, if you were at the Century of Prog-
ress in Chicago last summer and saw the clever
company present "The Dream" to delighted audiences;
or if you were among those who crowded the Holly-
wood Bowl to watch Reinhardt's open-air spectacle.
But just in case you happen to be a Shakespeare
snooter, let me assure you that, with all due respect to
Messrs. Noel Coward, Kaufman, and other illustrious
authors of our movies, Shakespeare, too, could write
for pictures. And I'm cheering for a Shakespearean
Cycle with Warners, as usual, leading the way.

Will "A Midsummer
Night's Dream" start a
Shakespearean cycle?
Looks that way! Left, Ross
Alexander as Demetrius,
with Olivia de Haviland.

LX*.

WE SAT in the stately restaurant of Stockholm's most
exclusive hotel, looking out over the famous bay where
the tiny green islands make a necklace across the blue
waters. We were waiting for Greta Garbo, home again
at last, spending her vacation in her native land where the streets
were decked with flags for her and the people ran cheering beside
her car.

"Here she conies !"

Every head in the room was turned as Garbo entered, a radiant
laughing figure walking between the tables like a princess, graciously
acknowledging the admiring greetings, giving a little cry of pleasure
as she saw the great bunch of her favorite crimson roses with which
the maitre had decorated her table. A vivid vital woman brimming

SCREENLAND

GARBO

SCREENLAND proudly presents
the first, only, and exclusive
Carbo feature story in years!
Creta talks frankly and eagerly
about her plans and ambitions.
Every word is true— and straight
from the heart of Carbo herself

Garbo's latest
studio portrait,
left. Below,
Greta as she ar-

for October 1933

REALLY TALKS!

By Hettie Crimstead

with the joy of life, her happiness reflected in her shining
eyes and the gaiety of her perfect smile. This Holly-
wood's baffling star of the strange disguises and the cyni-
cal silence !

"Is it really — it can't be Garbo !"

My Swedish friend laughed.

"You thought she was stern and unapproachable?
Perhaps she is in America but now she is at home in
Sweden so it is different. Come. I will present you."

Two wide sea-blue eyes looked up at me. Sun-tanned
fingers clasped mine in friendly fashion.

"But of course," said Garbo, "I shall be delighted.
Won't you sit down?"

I took the chair beside her, conscious of her faint per-
fume like a shy spring breeze. She was dressed entirely
in smoke-grey, a tailored flannel sports suit over a soft
silk shirt, low-heeled grey suede shoes, a grey and white
peasant scarf twisted round her throat. Her lovely hair
hung in a golden cascade on her shoulders but curling
down on her forehead too instead of being swept back in
the familiar screen style.

Her meal was a generous Swedisch repast with soup
and pickled herrings and savoury meats and cold vege-
table dishes arranged in fanciful shapes. "You see I do
not diet," she laughed. "I am afraid it would make me
bad-tempered to go without my dinner !"

She talked quite frankly about her plans and ambitions,
eager — even anxious — that I should understand her finer
feelings.

"Nothing I have ever done on the screen has come up
to the standard I have set for myself," she said. "In
every part I have seen some mistake I have made, some
shortcoming, some moment when the film has fallen into
the commonplace. The critics have praised, perhaps,
but that does not matter to me. Please do not think me
egotistical. I am only being honest and I must satisfy
myself before I can feel content. I have not done so yet."

"But surely 'Queen Christina' pleased you?"

"On the contrary, I was bitterly disappointed in it. I
had hoped for so much from that film ! I wanted it to
be a saga of my native land so that all the world should
see a page of our glorious history. But I could only do
what I was allowed to do." She shook her head sadly.
"The spirit which pervaded that film was not genuinely
Swedish."

Though she knows she cannot realize it yet awhile, her
cherished dream is to head her own producing unit with
which she can make the pictures that would please her
sensitive artistic conscience. Particularly does she want
to play a woman of the people, not "glamorous Garbo"
but a simple creature of homespun, human and lowly,
working out the tangled pattern of her unnoticed life just
as thousands of women are plodding every day all over
the world.

"So much I must strive for," Garbo said, half smiling
half sighing. "Yes, I find Hollywood supremely inter-
esting, but my life there is enormously exacting for I have
to give myself so closely to my work every day and then
in my leisure I must read and study constantly. It is

Wide World

The Swedish Sphinx speaks, and her words are recorded in
this exclusive Screenland feature. Read what Greta thinks
about her pictures, her future. Share her hopes and her dreams.

necessary if I am to achieve and not stagnate. That is
why I refuse invitations and spend so much time secluded
in my own home. You have heard I am eccentric, eh?
That is not true. I love life as any other woman — the
beauty and the color and the music of it all strike my
heart. But I am too busy for pleasure every evening and
in any case I prefer my few friends whom I can trust to
a large circle of acquaintances, so many of whom are
usually self-seeking."

Garbo admits that she does not greatly care for parties

SCREENLAND

Carbo breaks her long silence! Read every word of this amazing, first-
hand meeting. You will know Carbo as she really is for the first time

and dances in any
case. True daughter
of the Vikings, she
finds her enjoyment in
the open air with the
sports she learnt in her
childhood. She swims
superbly and almost
every day during her
vacation she visited
the archipelago just
outside Stockholm
with a party of friends,
bathing from the shel-
tered island coves,
skimming on sand-skis
across the stretches of
golden-brown shore,
sailing a tiny wherry
with the hands of the
expert yachtswoman.
In her trim white
swimming-suit or her
grey flannel trousers
and knitted sweater,
Garbo could forget
she was a film star for
a few brief hours.

To recapture- that
illusion from time to
time, she has bought
the private estate
about which so many
contradictory rumors
have been spread.

"It is not for pic-
ture-making," she as-

International

Here's Greta, left, above, as
she looked when the camera
caught her upon her arrival in
her home-land — gay, friendly,
charming. Now glance at the
other picture!

sured me. "It is for
rest, a place where I can find a little peace and quiet liv-
ing simply with nature. To return to nature is the most
precious experience I know. Nothing else is so clean
and pure and so soothing to the spirit as nature."

When I asked her about the work of her fellow stars,
a guarded expression crept into her eyes.

"My judgment of others is very weak," she deprecated.
"And I would not presume to analyze and criticize them
as I do myself."

She spoke of Elisabeth Bergner's last film with keen
admiration, however ; and she was also warm in praise
of Herbert Marshall. "I enjoyed playing with him in
'The Painted Veil' very much. He has sincerity and
modesty, both qualities that seem to be fast disappearing
these days."

In Hollywood Garbo seldom goes out to the cinema
but during her Stockholm stay she frequently visited one
of the luxurious "pleasure palaces" and saw several new
American and European pictures. Her companions
were, as always, the friends of her early days, the
Bohemians of Sweden's Greenwich Village with whom
she mingled when she was struggling and unknown, act-
ing as a shopgirl, a photographer's model, a stage extra
or anything else that would earn a few honest kronor.
Essentially loyal, world-famous Garbo still returns to her
old friends every vacation trip. They crowded the salon
at her "welcome home" party when she wore a cowl-like
gown of palest ice-blue satin caught with a silver cord
and tossed her great bouquet of lillies to the clamoring

mob who surged
around her car as she
left.

Hailed like a trium-
phant queen by Scan-
dinavia's social leaders
yet early next morning
she was taking her
customary daily walk
along the harbor quays
and returning a smil-
ing "God speed" to
the fisherfolk who
greeted her all unwit-
tingly after the cour-
teous custom of the
country. It is walking
and massage that keep
Garbo so splendidly
healthy, maintaining
her lithe slenderness
without need for diet-
ing, while the sun and
wind wash her hair to
its even gold and
warm her fine skin to
that tint like a summer
peach. She told me
she thinks most clear-
ly when she is walking
and her body and mind
are thus moving to-
gether in rhythm.

Several days in
Stockholm Garbo went
shopping, buying rare
examples of Swedish
sloyd or homecraft for
her house in California. She chose beautiful hand-beaten
pewter ware and delicately blown mountain glass so frail
it looked like curling white smoke, and colorful peasant
rugs striped in orange and red and purple from far-flung
Dalecarlia. She bought curtains for her bedroom and a
painted chest of carved birchwood to hold her lingerie
and innumerable books, including a whole set of the
novels of Selma Lagerlof. These were specially rebound
for her in green calfhide to match the color-scheme of her
library.

"Never can I have enough books," she remarked.
"Sometimes I am reading three or four at once."

Then another afternoon Garbo went to "Pub" — Paul
U. Bergstrom's Universal Stores where not so many
years ago she was selling hats and making her first ac-
quaintance with the camera in the firm's advertisement
photographs. Here she chose some sports clothes which
the outdoor-loving Swedes fashion so well and practical-
ly. Gracious yet decisive, Garbo knew exactly what she
wanted. Everything must be cut with supreme plainness
and simplicity of line but it must also have perfection of
finish. Nothing could be more severe than one white
silk blouse she ordered and nothing more exquisite than
the cobweb stitchery with which it was hemmed. In her
personal life as well as her profession Garbo would never
be satisfied with second-best !

When she had left me I too went to "Pub," up to the
high terrace overlooking the gay flower-market where
she used to stand so often, (Continued on page 81)

Keystone

The sombre, aloof Garbo as she
tried to dodge a news photog-
rapher before she left New
York. You will be amazed at
the very different Greta you
meet in our story!

for October 1935

Won't Be
A Hollywooc

HERO!

Randolph Scott says it and means it

By Dickson Morley

Randy Scott, after years of Westerns, was "discovered" in "Roberta"
— and is now the most-in-demand young actor in Hollywood. Right,
in his latest big role, opposite Margaret Sullavan in "So Red
the Rose." Now read Randy's strong views on this hero business!

AM not going around putting my best foot for-
ward these days — unless it's a step I want to
take!"

The time has arrived for the pressure of prece-
dent to be put on Randolph Scott full force. He has
finally maneuvered out of the Among-Those-Present
crowd into the small, magical circle of "comers." Real
reel triumphs are ahead now. But he won't change his
style.

He hasn't altered his way of living, his opinions, his
plans. They couldn't transform a varsity type into a
Rue dc la Paix modiste, in "Roberta." And his row of
important leads since that hit swooped him out of West-
erns can't turn him into an artificial, actorish pawn of
the studios.

"I won't be a Hollywood hero !" he avows. It is a
positive assertion, as all of his declarations are. They
didn't used to be, I can tell you. When Randy was
green at the movie game he was too often the patsy.
Gradually it percolated through to his discerning brain
that you get nowhere fast in the picture racket if you
let people walk on you.

In the beginning he was so anxious to get ahead that
he was too easy. "I was practically in every director's
hair, and I also used to be sitting around for hours be-
fore I was actually needed. They let me sit, too ! That
was a mistake, being too good-natured. The stern-

talkers who want things their way, run off with the bacon !

"It's half luck and half ability," he has concluded about
Hollywood. "In the end the hullaballoo fades, the town
forgets. And you're left with only what you've man-
aged to keep through your own smartness. I don't mean
just money, either. But your integrity. I'm going to
stick to my original theories. Although they did get a
pretty severe battering — even before this recent break !"

Randy had asked me into {Continued on page 70)

SCREENLAND

heir Own
Worst

Critics

Bob, above, takes pen in hand to tell Mr. Montgomery exactly what
he thinks of his performance in "No More Ladies." Bob is his own
severest critic, but not his best pal!

SO, YOU think yon know the ending of every Joan
Joan Crawford picture before the end of the second
reel?

And you think Robert Montgomery is "a little
too suave" in some of his portrayals?

And your Aunt .Minnie has been put out of two thea-
tres because she clucks her tongue so loudly every time
Jean Harlow appears on the screen?

And you wrote a letter to the Editor "wish'n" Loretta
Young would fatten up a little because she's so skinny
she makes you nervous ?

And your boy-friend thinks Dick Powell's a little con-
ceited ?

Well, if and whereas you think these, or other stellar
deficiencies are annoying to you, you should know what
the Copyright Owners themselves think along the same
lines !

Hepburn howled
with mirth when
she saw a certain
caustic cartoon
about herself.
She can take it.

"You couldn't
see the sets for
my collars!" said
Joan Crawford
at a preview of
one of her own
pictures.

for October 1935

Co ahead, say what you think about the stars! It can't
be half as bad as what they say about themselves!

By Dorothy Manners

When it comes to tearing a story to pieces, dissecting
dialogue, X-raying emotions, and wielding the old
hammer in general on their own worst performances,
the Hollywood stars, themselves, have you and me and
the professional critics so far backed down the lines
we're just an old bunch of Winched orchid tossers, in
comparison.

I've seldom seen a brickbat in a fan letter depart-
ment that I haven't heard first from the candid and
brutally frank lipstick of the target, herself !

And I've seldom read a criticism on any topic, rang-
ing from an actor's grooming to his love-making, that
some one of his friends haven't seen in burlesque in his
own drawing-room !

There is a simple reason for the exaggerated bitter-
ness with which players hold their own miscues and
bad performances. In the first place, nothing is ever as
bad as it is to the original boner-puller. You know
what I mean? You've sometime made a faux pas at the
time and the place where you could ill afford to stick
your foot in it? You've had the feeling that all conver-
sation has ceased within the county line, and all clocks
have stopped, while an astounded world regards you
through raised lorgnettes? All right— magnify that all-
gone feeling by a daily audience of one, ten, or fifty
million people, (I never was good on statistics), and
then try to imagine how a star feels when the kids in
the tenth row snicker at the love scenes.

And the funny part of it is, the stars seldom, if ever,
blame the onlookers. It's true that a great many humor-
less ones blame everybody and anybody except them-
selves, but there's no sense of humor in the world more
cutting than Hollywood's. And a lot of the time it is
self-inflicted. It's worse because it's closer to home ; but
it's better because it's funnier !

Read what lovely
Loretta Young
said right out
loud in the pro-
[ection-room
about one of her

It's been a long time since I've heard of a funnier gag
than Robert Montgomery pulled following the first pre-
view of "No More Ladies." While the pre-view au-
dience rocked with mirth at the wisecracks issuing
regularly from his suave lips, and watched his suave
performance draw to its suave close, Mr. Montgomery
sat in commendable silence, giving way to neither mirth
nor contrition; in short, a sort (Continued on page 93)

Ginger Rogers
insists that the
only thing funnier
than W.C. Fields
on the screen is
Ginger Rogers in
a hat.

SCREENLAND

Merrily
She Ro
Along

THE day I dread most in Hollywood is the day
that Carole Lombard will say, "Darling, I am
so glad to see you !" when she finds me sitting
in her very white William Haines bedroom
peering out from under the inevitable vase of white
gladiolas like a close-up in a Mamoulian picture. It
will mean that I am slipping. When Miss Lombard
goes polite and conventional with her friends it means
curtains. She doesn't compromise with her friend-
ships any more than she does with her life. Once you
have been dropped by Lombard you're quite definitely
dropped.

For two years now, Carole and I have been carrying
on a mild and humorous — well, anyway, we think it's
funny — version of the Lowe-McLaglen and Cagney-
O'Brien friendly enemy tiffs. Whenever she finds me
spilling very good Scotch and very bad wit over the
patio of her home on Hollywood Boulevard she begins
to shriek, "Oh, Oh, the Pest is here again ! And she'll
probably stay for dinner. Jessie, see that we have spinach
tonight. Miss Wilson doesn't like spinach. Fieldsy,
call Paramount publicity right away and tell them I
won't have my house cluttered up with fan writers."
And then I get very insulting about Glamor Queens
and pretend that I am leaving in a mad huff and stay
for hours in a delightful exhilaration. Carole is cer-
tainly exhilarating. She's a shot in the arm, she's a cold
shower, she's a double martini, she's a whiff of smelling
salts, she's a Dashiel Hammett story, she's the Best.

She is Hollywood's Smartest Young Thing, this
Carole Lombard whose gaiety is only a mask
for relentless ambition and dramatic fire.

By Elizabeth Wilson

In the friendly enemy business Carole is now one up
on me. There was last week-end. Carole told me over
the phone that she had a sore throat, her body ached,
and she knew it was flu and she probably wouldn't live —
so being an old softie and a little upset over losing
Carole I sent a huge, and I may add costly, bouquet of
white gladiolas and purple hibiscus. Imagine my annoy-
ance when I read in Louella Parsons' column Monday
morning that Carole had won something in a tennis tour-
nament Saturday afternoon and celebrated that night at
the Clover Club. Dying, my eye ! I immediately phoned
Miss Lombard and told her that she had gotten flowers
out of me by giving false evidence. Well, an hour later
while I was in the midst of impressing someone at my
office what should arrive but a messenger boy with a
bunch of dejected and evil-smelling flowers done up in
a newspaper with a card which read, "Take your old
flowers — Carole Lombard." Was I mortified !

So-o-o-o-o, it was with fiendish glee that I read a
letter from Delight Evans the following day requesting
a life story on Lombard. Urn, um — what I could do to
that baby! So I called up very formally and told her
that I would have to interview her about her life. "Oh,
no, oh, no!" shrieked Carole, "I don't want any more
stories written by you. You're a terrible writer. Why,
I nearly lost every fan I had after your last story on

for October 1935

The Life, Loves, and Times of a Hollywood Modern, told in the New Manner !
Something Excitingly Different, this Very Human Story of Carole Lombard,
Courageous Beauty who Fought and Laughed her Way to Fame

me. But I like Delight. I suppose I'll have to see you
on account of her. You might as well come for lunch,
you'll come anyway. What do you want?"

So I gave a list of all the little delicacies that I would
like, topped by a soupgon or perhaps it was a magnum of
champagne. Well, I arrived for my tasty luncheon and
was ushered out on the patio, which is done in blue
and white like a bit of the old Riviera comme gi comme
ga and come what may, and there was Carole in a pre-
shrunk bathing suit drenching herself in sun tan oil — -
and sitting in the shade. (That's Carole for you).
Participating vociferously in a wrestling match at her
feet were her two dogs, Pushface, a small Peke with a
grouch on life, and Mr. Brown, a dachshund with kind
eyes. Mr. Brown is a child of divorce. When he was
a tiny puppy several years ago William Powell gave him
as a present to his beautiful wife, Carole Lombard. Both
Bill and Carole fell insanely in love with the cute little
pup who very tactfully divided his affections between
the two. Came misunderstandings, came divorce, came
Reno, but neither Bill nor Carole would give up the
puppy. So it was arranged that Mr. Brown should
spend six months of the year with Miss Lombard and
six with Mr. Powell, Miss Lombard, like all mothers,
manages to 'fenagle a few extra months
out of Mr. Powell.

Well, Carole took one look at me and
called to Ellen, her maid, to bring
lunch. And of course, just as you sus-
pected, it wasn't all the little dainties
that I had ordered, but a box-lunch, the
kind you get on location trips, with a
hard-boiled egg, and a lot of ham sand-
wiches and pickles ; and the magnum of
champagne turned out to be a bottle of
Grade A. "Uncle Bob," said Carole,
"thought this plenty good enough for
you." And, secretly, I thought so too.
All the young men in Carole's life, (ex-
cept the head boy friend), are called
"Uncle." It's rather confusing when
you first meet her to hear her speak of
Uncle Bob and Uncle Walter and Uncle
Mecca and you get the general idea that
the Peters are quite a prolific family.
Uncle Bob is the handsome and popu-
lar manager of the Brown Derbies, and
one of Carole's best friends.

Fieldsy, Carole's secretary and com-
panion, and the gayest gal I've ever
known, joined us long enough to spill
strawberry tart — (how quaint of Uncle
Bob to put strawberry tarts in those
box lunches) down the front of her
new robe, then gave us a look that in-
timated that we were two of the dullest
people she had ever encountered and
hurried away to clean out closets as the
lesser of two evils. Carole suddenly
spied an old plant in the corner of the

Lombard is not only a celebrated beauty, but
a sincere and spirited worker. This Real Life
Story by Elizabeth Wilson is the first author-
itative account of Carole's amazing career.

yard, (I used to call it an elephant plant when I was
a child down in Georgia, but heaven only knows what
sissy name they have thought up for it out here), with
large dried-up leaves. "I think a little oil would help
that," remarked Carole, and proceeded to oil it profusely
with Elizabeth Arden's expensive sun-tan concoction.
Now how can you help loving such a divinely mad per-
son ! Mother Nature's little helper then began to read
me "3000 Lunatics I have Known" and the life story
reached a new low in interviews.

Inasmuch as Carole always reverses things, when the
creme of New York society, William Rhinelander Stew-
art, my deah, visits Hollywood she throws a partv, not
at her charming home, not at any of the exclusive clubs,
but at knock-down and drag-out Fun House in Venice,
the amusement park of the hoi polloi. So I decided that
it would be in keeping with her disposition to reverse her
life story. Instead of being born in this issue, as she
really should be, we'll take her as she is today, (some-
thing that not even a croupier has been able to do
lately), and work backward, if you can bear it.

Carole today is sitting in an enviable spot in Holly-
wood. She is not wealthy, but she is independent. Her
money is invested in good {Continued on page 85)

SCREENLAND

GH-FLYING

First exclusive story giving the lowdown
on Hollywood's high-flyers! Learn which
stars fly for fun and which for publicity

SO NOW the stars are sky-crazy !
To fly your own 'plane, or not to — that is
today's Teasing Topic No. 1 in the sophisticated,
inner circle of Hollywood. It's unquestionably
the new thrill.

Since personal piloting is being talked-about so much,
Screenland has rushed out and garnered the unvar-
nished lowdown for you. How much is just Hollywood
hullaballoo? Who's skimming through the air with the
greatest of ease?

Actually, the set-up is like that in any wealthy, country-
club town. Airships aren't an extravagance, considering
the incomes. But it's still quite distinctly the more
adventurous sort who are the high-flying enthusiasts.

You'll even find the' same standard types. There's the
swell athlete who has no conception of fear and who
has long been making daring solo jaunts. There's the
daredevil who thought he had it
all down pat in a couple of hours
— what a fright his impetuous
flight was !

There are the husbands who,
in spite of their star fame, have
wives who simply put their foot

Ruth Chatterton is a li-
censed pilot, with her own
specially designed 'plane,
shown above, which she
flew across the continent.

The Ross Alex-
anders are the
most air-minded
young couple in
Hollywood. Both
have applied for
transport pilot li-
censes. Left, the
flying Alexanders.

George Brent, left, in his
all-white monoplane. He
thinks every young man
?hould fly, and donates his
time and 'plane to lessons.

down on such neck-risking. There's the smooth, bril-
liant divorcee suddenly deciding on one more conquest
and so currently skimming about in the duckiest model.
Her terribly handsome "second-ex," meanwhile, has his
super-snazzy 'plane, and they don't get together to com-
pare notes !

And then, of course, there are the advanced young
moderns, earnestly taking lessons. There's the girl who
will — at the moment she's assiduously "working on
mother for her consent." The staid aviators who flit
as a matter of course, and the fellow who banged him-
self up but is determined to have another cloud-crasher
as soon as he can — read on for the real names.

for October 1935

HOLLYWOOD

By Ben Maddox

Carole Lombard, above,
takes flying lessons every
chance she gets; and wi
buy her own 'plane as soon
as she wins her license.

Ken Maynard, Western
star, with Mrs. Maynard in
the seventh 'plane he has
owned in as many years.
He rides the hoss in films

Willie. The time that he flew is the time he can't for-
get. The scene was Pittsburgh, right before he departed
for Hollywood and a life with the close-up cuties. Dick
figured he was an authority after two hours' study of
aviation, and embarked confidently for the upper zones
all by his lonesome.

Everything was hunky-dory while he kept going. It
was the descent which stumped him, for as he aimed
downward he realized he wasn't as skilled as he'd pre-
sumed. In fact, as he nosed the plane toward the
runway he was positive. A few wild dives at the field
and he was panicky.

Then he glimpsed the crowd waiting for the crash.
He detected an ambulance, and a stretcher laid out ! The
manner in which he was zooming up and down was com-
parable to a switchback railway's route, he affirms now.
He swears his hair was on end, that all his past flashed
through his mind and his future seemed finished.

After six attempts he finally landed. There was con-
siderable damage done to the 'plane in this procedure,
but fortunately none to Dick. But you can bet he has
been a back-seat flyer ever since and he insists he doesn't

mean maybe.

Top honors in the movie col-
ony for the very best sky-skill
can be divided between Ken
Maynard. Columbia's Western
hero, and Louis Hayward, Met-
ro's (Continued on page 72)

The studios aren't urging the stars to fly. A crack-up
would be a crack-down on a great investment — which
each player literally is to his employers. However, cross-
country trips have become such an every-day matter that
few objections are raised to using the regular airlines.

We might as well let the cat out of the bag about Will
Rogers. He is Hollywood's most publicized patron of
the 'planes, but he has never expressed a desire to run
the durned things himself. Invariably selecting airliners
for his constant gadding, he declares nevertheless that
he specks he's too old a dog to fuss with all them
gadgets you gotta deal with in the contraptions !

That merry Dick Powell is the lad who was Reckless

Ben Lyon learned
to fly for "Hell's
Angels" and has
been sky-skimming
ever since. Bebe
Daniels Lyon is an
aviation fan also.

SCREENLAND

The new Chaplin film is actually finished
and you'll be seeing it soon on the screen.
Above, an exclusive scene of Charlie in his
new character of a factory worker. Right,
Charles Spencer Chaplin, Esq. Left,
his leading woman, Paulette Goddard.

Danger!
Genius
at Work!

SOMETIMES in the studios of Hollywood truly
great pictures take shape. I am watching the
growth of what may be the greatest of all of them,
and I am thinking that the very simplicity of the
surroundings, the quiet efficiency of the technicians, and
the atmosphere of work to be done without pomp and
show are the surest indications of high art. In the par-
ticular scene before me, the lights play upon giant turbines
and dynamos, while among them a small human figure
swaggers with no more to aid him than a wrench and an
oil-can. All of his co-workers are brawny men, less

for October 1933

Comic Dynamite — Charlie Chaplin making his
new picture. Read this exclusive story of Charlie
in action, by the only writer allowed on the set

By Margaret B. Ringnalda

dwarfed by the giant machines than he, but with his
oil-can and his wrench he bustles about in a laughter-
provoking attempt at mastery.

What am I talking about, you say? Why, Charlie
Chaplin's new picture, of course, the picture that is far
more than comedy, too full of both gentle and hilarious
laughter for tragedy, and above all, a reflection of man-
kind in his modern world. It is a world of hunger, work,
and struggle perhaps, but it has beauty and humor enough
to balance — especially it has the saving grace of laughter.

There is no talking in this picture. Indeed, conversation
could not possibly carry the same potency as the silence
and the pantomine of the actors, and the sound effects.
What could be more powerful than the noise of the great
engines against the quiet of the human beings under them ?
The imagination of the audience may supply what it will.
Besides, the pantomime of Chaplin has reached that point
of perfection in which the lifting of an eyebrow or the
casual flip of a hand tells more than most half-hour dia-
logues.

From the factory I am transported to the dream-house
of the factory worker. So modest are his dreams, and
so impossible of attainment ! A bright kitchen, steak
for two, milk straight from the cow, and, making all
this luxury worth having, his girl to cook the steak and
keep the kitchen bright. His imagination and hers dress
her in gingham, with a ribbon for her hair, instead of
the rags to which she has been accustomed, and with the
gingham and the ribbon, she becomes a fine lady.

Agnes, the cow which is to supply the milk in the
dream-kitchen, stares from the rear of the studio with
bovine complacency. After all, she seems to say, this
is nothing but a barn. She is far less impressed than I.
All that really seems to make an imprint on her cow mind
is the fact that these people are decidedly liberal with
oats. She probably considers the whole company insane
for milking her at such odd hours. If cows feel strongly
about conventions in such matters, she may be outraged ;
but given her quota of oats, she complies with dignity,
as if she had grown old in taking direction, and then goes
back to her place and her occasional rolling survey of
this new kind of barn in which she finds herself.

High above the lights, a dove that does not belong in
a studio at all, sits among the criss-cross timbers with
wings dropping. He has no part in the picture, but he
is of interest to everyone who comes into the studio, for
he flew in the first day that Paulette Goddard came on
the set. Everyone worries for fear he will starve. No
coaxing will bring him down ; crumbs are left for him,
but he takes no note of them. There are joking remarks
from the company that the dove will remain on the set
until Paulette's part is done and then go out with her
as he came in. It is a nice, romantic fancy, anyway.

During this dream-sequence I give my chief attention
to Paulette Goddard who plays the part of the girl. I am
particularly interested in my first sight of her at work,
for, as I said in a former article, if intelligence of near-
genius order means ability, she should be a fine actress.
I see her fall into pantomime so easily that there is no
need for re-takes. She does simply and naturally what
veteran actors rehearse time (Continued on page 76)

Chaplin, called "the
only authentic genius
the movies have pro-
duced," is shown at
the right, in close-
ups of his famous
tramp character. Re-
member ''City
Lights?"

Above, Paulette God-
dard, Chaplin's latest
discovery, and Charlie
in a scene from the
new production soon to
be released.

Of course you
haven't forgot-
ten Charlie in
"The Circus" —
right, above; or
in "The Gold
Rush," right, be-
low. What's your
favorite Chaplin
film?

SCREENLAND

Photomontage ~by
Forest Ages McGinn

Above, find Anna Sten,

Walter Huston, Madge Evans, Marlene Dietrich,
Richard Dix, Fred Astaire, and Joan Bennett.

the Trai

Catch the screen celebrities at boat
or train and you see them as they
really are, as this amusing story proves

OUR movie stars certainly have wonderful times !
Suppose, for a few sparkling moments, that
you are Mona Mascarra, (nee Schultz), the
great movie actress. You are on the famous
Twentieth Century Limited, sliding majestically into the
Grand Central Terminal, New York. It is nine o'clock
in the morning. You have passed a miserable night —
or rather "lousy," as you say laughingly. You have
pitched and tossed throughout the break-neck over-night
run from Chicago. You were roused from a brief night-
mare at eight-thirty by a dark fiend known as a
"porter."

When you fell out of bed your mouth was full of cin-
ders and your heart full of black hatred for all mankind.
Now you have struggled into your expensive wrinkled
suit, with last night's orchids drooping like a cluster of
damp dish-rag. You look like the devil and you know
it. You have taken three aspirins and tried to cope with
coffee. The train stops.

There is a frantic banging on the door of your drawing-
room. Opening it a crack, you see the toe of a large
unshined shoe inserted. "This is Smith of the 'Morning

Croak,' Miss Mascarra," says a cigarette baritone. "Is
it true that you are engaged to the wrestler, 'Man-Moun-
tain' Dean ?"

You sigh and open the door. The Press is here. It's
begun !

The great depot seems to crawl with pests, all for
you. One of your company's press agents smacks you
in the chest with an armful of wet and prickly roses,
perhaps snitched from a nearby grave. Another passes
out papers giving your name, record, reason for living,
and a chart showing the location of your moles. Seven
cameramen halt you at the door. "Stand there, please.
One foot on, one off! Wave! (This is a cinch, as you
are only carrying the roses, three novels, your jewel case
and a handbag). Now sit on the trunk! Cross your
legs, please? Hold it! Thanks! Now just one more!"

Flashlights blind your bloodshot eyes. Unholy noises
smash your eardrums. But you have to smile ! Oh,
yes — it's business ! You want to brain them with their
own cameras — -but smile for the birdie, darn you ! It's
the Press !

Oh — isn't it jolly to be a movie star !

I don't exaggerate one title. Such ghastly scenes
happen every day in the year in New York. Dull indeed
is the run of the Century that doesn't dump a half-dozen
head of the screen darlings from Hollywood. How empty
the great Atlantic liner that fails to carry two or three
native notables or foreign favorites from The Other Side.
Whoever they are, however they feel, they are met at

for October 1933

■Bin

Smiles of greeting or au revoir from Princess
Natalie Paley, Katharine Hepburn, James
Cagney, Verree Teasdale, and Lily Pons.

Traveling Stars

train or Quarantine — pushed, pulled, devilled, teased and
photographed.

Some, of course, battle this bedlam and ballyhoo. Take
Garbo — if you can catch her. Her frantic flights have
made history. Not once in her ten years of film fame
has the Scudding Swede faced the American camera
barrage like a man ! She would jump off the pier and
swim the river to duck a shutter-snapper. On the trip
east which led to her present Swedish visit, Garbo led
three car-loads of reporters a breathtaking, dangerous
chase through the tunnel under the Hudson River. The
girl only quit when stopped by New York traffic laws
and lights — then the boys took a camera shot at her
through the taxi window. If you corner her on foot,
she'll duck her head and run like a turkey — until she
arrives safe and sound, if breathless, in her native land.
Only then will she smile.

Her ardent disciple, Katrina Hepburn, is another
problem for the lens boys. She, too, refuses to stand
and deliver — she, too, can do the hundred yards down
a station platform in ten seconds flat at the crack of a
flashlight bulb. One of Our Kate's favorite tricks is to
scoot into a freight elevator and rise to a higher level,
(of the station), while the baffled press howls impotently
below.

And once Kate loses the pack, it stays lost ! One day
a reporter, smartly shaken at the depot, chiseled her phone
number. She herself answered the call, told the dazed
lad that Miss Hepburn had already left for the country,

Leonard Hall

and hung up before he could rally his addled wits. Hep-
burn thinks, talks, acts like a flash of lightning — but
never as fast as when the press is snapping at her heels.
A tough baby, as any cameraman will tell you.

The delicious Dietrich, on the other hand, seems to have
come down off her high camel and become something
of a regular fellow. Not exactly a pal, but a real chum
compared to what she was in the days when von Stern-
berg told her she was the American Kaiserin. She will
pose, loftily. True, she refuses to unveil her twin claims
to fame for the cameramen, but she declines with grace
and humor — as testified by her now-classic crack, "Why
should I show my legs ! I think they are well enough
known by now !" Even the stone-hearted photographers
loved her for this — and as a result you will find Marlene
very well treated in her news pictures these days.

Which brings me to a1 vital point. Your wise, case-
hardened old stars are very nice indeed to news photog-
raphers— who are very sensitive under their crocodile
hides, and, like the pachyderms, never forget a snub or
a kick in the ankle.

You'd be surprised at what a cameraman, a remembered
high-hatting festering beneath his sweet smile, can and
will do to a movie star. If he is lucky — can catch the foul
offender with her mouth open, {Continued on page 92)

SCREENL AND

IN ALL the ten years I have known Dick Arlen,
this is the very first chance I have had to take a
crack at him in print !

So what happens? I'll tell you what, and it's
typical of that Arlen gent. As soon as I get the assign-
ment, it is discovered that the big egg is chasing around
the country playing in golf tournaments! Last known
stop, St. Paul, Minnesota.

But don't let that stop you, says I, not while Joby is
holding down the fort. She knows more about him than
he does any day, as what wife wouldn't who has been
working at it almost nine years.

Arlen always gets delightfully vague on the subject
of Arlen, so what do we need of him, anyway? How-
ever, he can dissertate at length on practically any other
subject. For instance, when he and Joby were over
in Europe, they included Venice in their itinerary. Dick
was struck with a brilliant idea. He was going to revo-
lutionize the whole gondola business ! "Hey, you can't

This young veteran has held his high place in
pictures longer than any other actor. And
his lovely wife, Jobyna, has helped him do it!

Dick

oday

Reviewing the purposeful past, the
colorful present, and the bright
future of ever-popular Arlen

By Ruth Rankin

row that way," yells Dick at a gondolier who
had only been at it some twenty years. "That's
no way to handle an oar!"

"Imagine," remarks Joby, reminiscently,
"trying to teach anybody in Venice anything
new !" But Dick stroked on a crew somewhere
and that wasn't the way they taught him how to do it ;
so he was going to give freely the benefit of his knowl-
edge. Of course the Renaissance oarsman serenely pur-
sued the even tenor of his way, not understanding a
word. But you can't say Dick didn't try!

Joby says there is no man of his age alive who is as
young as Dick is. Of course she's prejudiced. He is
really younger than that. Some of the gentlemen who
have been around this now picture business for as long
as he has been, have shed all their illusions and are pretty
prone to view anything smacking of optimism with a
jaundiced eye. They are bored and very, very tired. I
have yet to see Dick in either state. He is an incurable
optimist and he believes everything anybody tells him,
at least he pays them the compliment of looking as if
he does. When disillusioned, he assumes a worldly "I
told you so" air, when actually he is surprised as can be,
inside.

When you want to see Joby, (Continued on page 89)

for October 19 3 3

Mr. Temperament

long

SMALL men are pugnacious.
And most often tenacious.
That's why they make ex-
cellent fighters and fanatics.
Napoleon was a small man, and
Claude Rains is a moderately
small man. Small enough, at any
rate, to have played with stag-
gering success the role of that stocky manipulator of
empires in the Theatre Guild production of "The Man
of Destiny." And like enough to have other character-
istics in common with Napoleon and the rest of that
breed of short-statured, long-willed men

Claude Rains proves that an actor
can be as "mad" as he likes, so
as his acting makes sense

By Hilary Lynn

the slightest provocation and at
most unexpected times and
places.

This sudden explosiveness
caused a near-riot in a London
theatre in pre-war days. At the
time Claude, playing the role of
a romantic lover, looked even
frailer than he does now — all wirey nerves and brittle
bones. The heroine was a sturdy English lass who
tipped the scales at something over 150. In a moment
of passion — whether of love or hate has not been set
down in the annals — the stare directions indicated

Moody as G
pugnaciou
N a p o I e
Claude is
d i c t a b I e
delightful

Like them he makes up in intensity what he lacks in that Claude lift the buxom girl and carry her to a
extensity. He's a volcano of tireless energy, slightly on couch.

the eruptive side. His voice over the telephone blasts Claude essayed the task with the dogged determination
one's ear-drums ; he explodes with laughter or wrath at characteristic of him and Napoleon. He staggered under

her weight. A wiseacre in the
gallery groaned audibly. Claude's
nostrils dilated, his upper lip stif-
fened. He tried again. There
was a concerted Umm-mmm-'mg
from the gallery ; then the balcony
and .stalls took up the refrain.
Veins stood out on Claude's neck,
his forehead was moist.

"That's the boy— lift 'er up,"
yelled the original disturber. And
then the storm broke.

The stage lover — or villain —
dropped that portion of his pre-
cious burden which he had man-
aged to hoist from the ground and,
turning fearful eyes on the of-
fender, he roared : "Come on
down and lift her up yourself !"
in a voice that had in it something
of the darker forces of nature.
Then he proceeded to roll up his
sleeves. His facial expression was
so violent that the taunting crowd
was frightened into silence. And
he would have retired from the
stage a victor had not his lifeless
burden become animated at that
very moment. But she, now an
outraged woman, stood up on her
feet and for her
rights, smacked our
hero across the face,
and flounced off the
stage. History does
not state whether the
play went on.
\ Contrary to the

belief that small men
are aggressive,
Claude's explosive-
's ness is the direct out-
growth of just the
opposite characteris-
tic. He's abnormally
shy. Which is prob-
(Cont. on page 82)

SCREENLAND

Glamor Ta

When Hollywood stars visit the Fair, they
go gloriously crazy, even as you and I

Above, Robert Young, Lew Ayres, Ben
Alexander, and Ginger Rogers admire the
wax figure of Eddie Cantor.

Anita Louise and Helen Mack, right, are
as thrilled as any fan over a cluster of
Mary Pickford's famous curls.

Wherever Mae West went, a crowd was
sure to follow — see extreme right. Mae
took all the adulation good-naturedly.

ELL, your Auntie Maggie (old Mag the
Hag to those in the know — but, mercy, don't
ask them what they know ) , was in a mad-
some mood a fortnight ago, and what do
you think she did? With a hey-nonny-nonny and a
hot-cha-cha she landed plop, but definitely plop, right
on Queen Elizabeth's greensward at the San Diego Fair.
Good, (I doubt it), Queen Bess didn't seem to mind at
all but commanded her bedizened merrymakers to go
into their dance, and they did an elfish Elizabethan
romp all over the place that brought out the fey in me.
I was all for yodelling for Titania and whooping it up
with a few gnomes when I suddenly recalled that I was
a lady, I mean I am a lady, oh, well — I mean I shouldn't
act that way.

And it's a good thing I pulled myself together just
then, for whom did I run right smack into but the
Moody Celt of Hollywood, Jimmy Cagney, falling for
Shakespeare hook, line, and sinker. Jimmy was taking
it so big that he sat like a stone image all through "The
Taming of the Shrew" and I didn't dast to pop my gum
for fear Mr. Cagney might miss an iambic pentameter.
Now Jimmy is a swell guy, and I like him, but ever
since he did "Midsummer Night's Dream'' for Max
Reinhardt and Warner Brothers, there are times when
he has a decided Shakespearean complex, and at these
times he and I have nothing in common. This was one
of those times. Oh, fie upon me, frump that I am, I
fled from culture. And imagine my surprise, when I
had ceased my fleeing, to find myself buying a ticket

for October 1935

to see "Miss America,'" for adults only, on the midway.
I was so ashamed !

Well, I always say that to find out what movie stars
are really like you have to catch them at a Fair, or a
Circus, or a Poker Game ; and if you want to make a
quip about strip go right ahead, but I personally wouldn't
stoop to it. So when I heard that Hollywood was turn-
ing out en masse for the San Diego Exposition, natur-
ally I dropped everything and scurried down there just
to see who was doing what, for it is well known that
as soon as a star leaves Hollywood he immediately as-
sumes that he is on a vacation and goes crazy. And
if there is any crazy business going on I want to be in
the thick of it as sort of Head Goof. Also, I am in-
terested in knowing what interests the Hollywood great;

what takes their fancy at a Fair. Photography? Art?
Home-building? Cooking? Fords? Nudist Colony?
(I just knew Jimmy would be a pushover for the
Shakespearean theatre.) So if you'll bear with me I'll
tell you where I found your favorites at the Fair.

Remember me, I'm the girl who was buying a ticket
to see "Miss America" two paragraphs up. Well, while
I was waiting for the curtain to rise I got a punch in
the ribs and there back of me were Isabel Jewell and
Pert Kelton with their mothers — mercy, what a place
for mothers. "Mother insisted upon coming in," Isabel
frantically whispered to me, "She thinks it's going to
be a constructive lecture on Art. What shall I do? Do
you think I'd better get her out?" "Mother knows best,"
I retorted, and recalled meeting (Continued on page 63)

SCREENLAND

is Made

SCREENLAND'S
great new serial—
the exciting experience
of an unknown girl who is
transformed by Hollywood magic

The Story So Far:

Diana Wells, visiting in Hollywood with Michael Stone,
to whom she is engaged, and his family, meets one of the
film industry's foremost producers, who seeks her out to
attend a dinner in honor of their star, Claudia Ray. The
star, due to a series of gay parties, is unable to attend this
important event. When Diana learns that she is at the
dinner to impersonate Claudia Ray, her first reaction is
bitter resentment — then an incident which challenges her
to prove her mettle determines her to carry out the decep-
tion, and in a speech Diana so well simulates the peculiar
drawling speech of the star that, combined with expert
make-up and costuming, the effect startles even the pro-
ducer. So impressed is he that after the dinner he tells
her she can have a contract to act in his pictures. Now
read on :

PART II

She
and

I ANA had a real offer to go in the movies !
sat in the automobile between Trauber
Herrick and gasped in astonishment.

"But you've got Claudia Ray ! If I look
like her—"

"You do, tonight," said Trauber. "With a new-
make-up you'll be an entirely different person."

"Maybe I don't want to be in the movies !" said Diana.

The men looked at her open-mouthed.

"I never heard of such a thing!" said Herrick.

"Every girl wants to be in the movies," said Trauber.
"Are you married?"

"No. I'm engaged, sort of — "

"You needn't let that bother you. When you begin
to see your pictures in the magazines — "
"I might not make good."

By Thyra Samter Winslow

"Let us worry about that."
Trauber wrote something on a card.
"Bring this to the studio tomorrow morning at ten,"
he said.

A thousand thoughts raced through Diana's mind.
Her parents, Michael, the little white cottage they had
talked about, her nice, well-ordered, well-planned life —

She laughed.

"I'll be there," she said.

Sara and Michael were waiting for Diana. They
almost gasped as she came in, wearing the lovely white
chiffon gown.

"You look too beautiful to be real," Sara said, "and
we're bursting with curiosity."

A funny thing happened. Diana found she didn't
want to tell Sara and Michael about the evening. It was
something so apart ; something she couldn't talk about.

"I had a nice evening," she said. "A good dinner,
too."

"No mystery?" Sara was disappointed.
"None — except I'm to have a chance to go in the
movies."

Michael's face clouded. "I was afraid there would be
something like that," he said.

"Now, Michael," Diana put her hand on his shoulder.

for October 1935

ILLUSTRATED BY
GEORGIA WARREN

"It's you they want," Michael
told Diana. "If you want to see
them you'd better go with them
when I'm not along."

"It's just a tiny bit of a chance. Think of all the fun.
Seeing new things — and meeting people — and maybe
making some money. We can use that, you know !"

"It's a world far away, even if it is next door," Michael
was not convinced. "I don't want anything to take you
away from me."

"Nothing will!" Diana laughed, "except sleep. I'm
tired. I'm going to bed right now."

She blew a kiss to Michael, went up to her room. She
wanted to mull over what had happened — a dream she
wanted to keep with her.

Diana reached the studio at ten. The reception room
was dark, cold, forbidding. She shuddered to think how
discouraged it would have made her feel had she come

here in need of a job. Now she enjoyed watch-
ing the people enter and leave. Important-
looking men, brisk, a bit too serious. Girls all
set to look charming.
Two girls came in. Sunny Beck and Iowa Sommers !
Diana spoke to them. They gave her curt little nods.
She couldn't believe they were deliberately being rude.
Maybe they didn't recognize her.

"Hello, don't you remember me?" she said. "We
were on the train together."

"Of course," said Sunny, with a new and elegant
languor. "The girl who didn't want to go in pictures !"

Diana was about to tell them she had changed her
mind when Iowa spoke.

"With your temperament it probably is just as well.
We were the types they wanted. We've already been
working as extras in three pictures." And the girls
hurried away without even waiting for Diana's approval.

A few minutes later Trauber sent word that he would
see her. {Continued on page 66)

TRAPPED IN THE

OF MODERN LIFE

theu fiqht. AS YOU M..for the riqhj to love!

ENTHRALLED — you'll watch this

BLAZING SPECTACLE OF TODAY TORTURE
THE BEAUTIFUL AND THE DAMNED!

See this man and woman living your
dreams, your despairs. Fascinated . . .
behold the raging spectacle of hell here
and hereafter ... of Inferno created by
Man and Inferno conceived by Dante!
This drama blazes with such titanic
power that it will burn itself into

YOUR MEMORY FOREVER!

FOX FILM PRESENTS

SPENCER TRACY • CLAIRE TREVOR • HENRY B

Produced by Sol M. Wurtzel Directed by Harry Lachman

INEHART

THRILL
AS YOU

SEE

Ten miESion sinners writhing in eternal torment
— cringing under the Rain of Fire — consumed in
the Lake of Flames — struggling in the Sea of Boil-
ing Pitch — toppling into the Crater of Doom —
wracked by agony in the Torture Chambers —
hardening into lifelessness in the Forest of Horror!

Pius the most spectacular climax ever conceived!

A STARTLING DRAMA OF TODAY. .. AND FOREVER! TIMELY AS
TODAY'S NEWS ... ETERNAL WITH ITS CHALLENGING TRUTHS!

Triple*Threat
Picture

Fight to the finish for first honors:
Miriam Hopkins, Edward G. Robinson,
and Joel McCrca in "Barbary Coast"

Comes clean
romance, in
the person of
Joel McCrea,
third member
of the stellar
trio of Mr.
Samuel Gold-
wynVBarbary
Coast." Can
this be Love?

Miriam Hopkins, lately "Becky Sharp," relies
this time solely upon her histrionic talents,
without benefit of blooming color, as the
picturesque heroine of the ultra-purified
"Barbary Coast." Will it be interesting
despite the sapolio process? Wait and see.

Edward G. Robinson, "borrowed"
from Warners for "Barbary
Coast," has his most menacing
r6le in many movie moons as the
dark deep villain of the piece.
What now, "Little Caesar"?

Can this be movie
menace? Yes, of the
new school. Robinson
and Hopkins strive to
steal this scene from
each other — to the de-
light of their audience.

IN ANSWER to your many imperative
demands, we are giving you the latest
portrait of your new idol. And now, Nelson
Eddy, please rush to completion your
vocal-visual picture with Miss MacDonald.

Sing, Darn You, Sing!

The lovely little lady with the beautiful
big coloratura soprano voice at the ex-
treme left, Lily Pons, makes her movie
debut in "Love Song," in which she not
only sings, but dances. We — want — singing!

Michael Bartlett is the new
sensation who scored singing
"La Boheme" with Grace
Moore in "Love Me For-
ever." How about an encore?

We all know Mr. Lawrenc<
Tibbett is a proud husband
and father, as shown below.-
Now for his magnificent bari<<
tone, in "Metropolitan.'1;

Radio singers are also in demand in
Hollywood. In "Every Night at Eight"
the three charmers at the left, Patsy
Kelly, Alice Faye, and Frances Lang-
ford, play — and sing — as one of those
ever-popular radio sister combinations.

George Raft is t\r lucky boy who stars
in "Every Night at Eight." George
can't sing, but he dances a lot.

Mi, Mi, Mi! Yes, You!

The warblers are
winning the wonder-
ful movie contracts
this season. And now
let's hear 'em sing

No grand opera tenor will ever sigh for "the good
old days at the Met" when he is handed a Holly-
wood contract like Martini's — to say nothing of
three such sirens to act with as Genevieve Tobin,
Anita Louise, and Maria Gambarelli, below.

New York's grand opera audi-
ences voted Nino Martini the
most personable tenor in too
many seasons. Now Nino,
young, gay, and gifted, is lending
his liquid voice and Latin charm
to "Here's to Romance." Double
Martini, please!

Presenting Gladys Swarthout, gorge-
ous girl and grand mezzo-soprano
from the Metropolitan Opera
House, New York, who makes her
distinguished screen d6but in "Rose
of the Rancho," with John Boles.

When all is said and sung, you can't
beat Bing Crosby for popular crooning
appeal. The nicest thing about Bing is —
next to Dixie Lee and the twins — he
doesn't take his crooning too seriously.
Below, you see him clowning through a
scene for his next picture, "Two for To-
night." The two enraptured beauties
are Joan Bennett, left, and Thelma Todd.

eorge Houston, opera and
roadway musical show sing-
above, makes his screen
ibut with Josephine Hut-
tinson in "The Melody
ngers On." Mr. Houston is
c feet two inches tall, and
is in grand opera for seven
ars. Stop, look, and most
particularly, listen!

That's "Curly Top's" current message to you.
And here are new pictures of, and about her

In her new picture, "Curly Top,"
said to be her best, Shirley dances,
sings, and everything — even a little
bit of hula, as you see at the left.

Left, the room in
which Shirley "goes
to school" in her
dressing-room bun-
galow. The regula-
tion school desk,
painted white, is
where she does her
school lessons with
a regular teacher.

We thought you'd like to see the elaborate
bungalow, above, that is little Temple's
studio home on the Fox lot; where Shirley
studies her lines and lessons, makes-up,
rests between scenes, eats and plays.

And now, below, we're
showing you just why this
mite of a girl deserves such
grand dressing-room
bungalow. Yes, this little
old lady is really Shirley
Temple! Her big number
Curly Top" is called
"When I Grow Up," and
Shirley transforms herself
into a grandma!

And here, right, is Shirley's
big doll-house, which occu-
pies an entire room in the
bungalow. This doll-house
was first used in the Fox
film, "Orchids to You," be-
fore it was presented to
Shirley by the studio. Watch
for it on the screen.

The sitting-room, left,
in the Temple bunga-
low, has a color scheme
of jade green and
white. The sofa, cover-
ed in linen printed in a
kindergarten design, is
Shirley's pet resting
place when "off-duty."

To tKc Baoies!

Pardon us, youngsters — you're really big
stars, with grown-up salaries and tilling

The new "Little Big Shot" of
the Warner Studio, Sybil
Jason, is shown at the right,
reading from top to bottom,
in the act of making poor
Edward Everett Horton's
life a misery. But he loves it.

Two adorable kids, Virginia
Weidler and Dicky Moore,
left, will delight you in
"Peter Ibbetson." You re-
member Virginia in
"Laddie." Now look at her
all dressed up! And who'll
forget Dicky's "So Big?"

Little Betty Holt, above, is a
newcomer to pictures. She's the
sister of David Holt, one of the
leaders of our younger screen set.

Carol Ann Beery with
her daddy, Wally,
above, and a new pet.
Carol Ann swears she
won't be jealous when
Wally plays again with
Jackie Cooper in
"O'Shaughnessy's
Boy."

That sweet imp, Sybil
Jason, adds Robert
Armstrong to her list of
conquests, with Eddie
Horton being just a bit
wistful about it. You'll
see this trio, left, in
"Little Big Shot."

This eminent young actress from the
stage has already won a high place
for herself in Hollywood, with her
exquisitely poignant portrayals and
her hauntingly sweet personality.

Exclusive Schkenland
portraits bp '
Elmer Fryer

iPat O'Brien brings the same healthy gusto to the enjoyment of
his off-duty hours that he gives to his hearty screen r6les.
Above, Pat in his recreation room. Right, card tricks.

Irisn

man at asc

Clowning for the cameraman! From the picture below you wouldn't
guess that Pat has a nice mellow voice with which to sing old Irish tunes.

Exclusive Screenland
portraits by
Scotty Welbourne

Ronald Colman has the great rdle of Sydney Carton in the impor-
tant new screenplay of "A Tale of Two Cities." Above, Mr. Col-
man, in his first portrait in the new part. Right, between scenes
with his leading lady, Elizabeth Allan. Note Ronnie's wig!

Below: first days of "Last Days of
Pompeii," the great spectacle being
produced by RKO. Louis Calhern,
Preston Foster, and John Wood in-
dulge in a little ofF-set musical byplay.

1 he hrst century meets the twentieth in a Hollywood
studio. Preston Foster, in costume as the leading actor
in "Last Days of Pompeii," with Mrs. Foster.

*7i

COSTUME-CRAZY !

"The Three Musketeers" live
again on the screen! Right:
Aramis, Porthos, and Athos,
played by Onslow Stephens,
Moroni Olsen, and Paul Lukas.
Below, the new D'Artagnan,
Walter Abel.

The romantic 17th century ad-
ventures of D'Artagnan and Con-
stance are dashingly portrayed.
Above, Walter Abel as D'Artag-
nan, with Heather Angel ;
Constance. Right, a close-up.

last, Francis Lederer
in a devil-may-care r6le
suited to his talents! "The
Gay Deception" seems
to offer Lederer, right,
his long-awaited chance
to make a genuine stir in
our best cinema circles.

The flashing good looks
and accented charm of
"the bouncing Czech"
are afforded every op-
portunity in his new
film. Frances Dee is the
fortunate girl in the
case, as you see, left.

Exclusive Screenland photo-
yrapha Elmer Fryer

ewcomer i

Presenting the latest popular member
of Hollywood's smart "Youngest
Set/7 about to step out (ckaper*=
onea ama Joan Blondell)

Norman Scott Barnes, new Boy-about-Town,
poses for his first pictures, and likes it!
Why not, with star Joan Blondell for a mother
id champ cameraman George Barnes for a dad?

Little Norman — named for Norman Foster, his parents'
best friend — takes to this acting business like a vet-
eran. "Normie," as Joan calls her son, needs no urg-
ing to "look at the birdie" — he's camera-wise already!

Joan breaks the Hollywood rule of
most screen-celebrated mothers and
gladly poses with the pride and joy
of the Barnes household. She
wants all of you to know why she
is even prouder of these pictures
than of her current screen hit,
"Broadway Gondolier."

Mary Pickford will return to
the screen as producer of two
pictures and star of two more.

The Most Beautiful Still of the Month

Henry Fonda and Janet Gaynor in "The Farmer Takes a Wife

This Business

f Being

Actor

"The Girl Friend" is Roger
pretty Ann Sothern. The po
in a scene from

Pryor approaches his career
problems seriously and in-
telligently. Being a good
actor means business to him.

ROGER PRYOR and I
had just finished our
last bite of French
doughnut at the
Brown Derby and I was be-
ginning to feel I knew him
pretty well. At least well
enough to inquire if he had
a definite objective — if he
knew what he was striving
for in this mad whirl of ac-
tivity, this seething cauldron
of ambition — that is our
Hollywood.

He does know. And his
own ideas are so different
from those of everybody

else about him that they are refreshing, to say the least.

"I haven't the slightest desire to become the great
lover of the screen," said Pryor. "That much I can tell
you, without hesitation. But I would like to become a
great character actor, doing such things as Paul Muni
and Henry Hull ; and next to that the lighter type such
as Bill Powell is now playing.

"If I haven't something of my own to offer, I might
just as well step down and out now. I don't think it is
conceited for me to think I might have something to offer
the screen. You see, practically all of my life has been
spent on the stage, and I have been put through some
pretty fast paces, particularly the five years I was in stock,
so I should know something about acting."

Like dozens of fine actors who have preceded him, he
doesn't want to be typed. At the same time, he has no
illusions about his beauty. He doesn't imagine that he is
the best-looking man in Hollywood. And the idea that
he is the recipient of ardent glances from every female
that looks in his direction is preposterous to him. Be-
sides, the screen love-making to him is a business, just
the same as playing a tough guy. He steadfastly refuses
to believe that he is pictorially the type to make feminine
hearts do a flip-flop every time his face is shown on the
screen. Therefore, being desirous of doing worth-while
things, and feeling that it is not too ambitious a craving

Roger Pryor puts over a
new role in the same
spirit as a business man
puts over a deal. That's
why he is a success

Maude Lathem

to become a really great ac-
tor of all parts, he wishes
whole-heartedly that he might
convince his studio that he
is suited to character parts.
All the while the directors
and producers continue to
hunt more romantic roles
for him !

"My studio," he continued,
"has played me in some
straight leads, as well as
characterizations, but I was
much pleased to do a 'tough
guy' with Mae West in 'The Belle of the Nineties' and
soon after to do a cultured gentleman with Carole Lom-
bard in 'Lady By Choice.' It helped at least to keep
me from being typed as either one or the other.

"Imagine my surprise recently to discover that Holly-
wood thought I could only play a fast-talking role, be-
cause I had such a part in the stage version of 'Blessed
Event.' I can talk fast, when I am so characterizing a
part, but my natural conversation is as deliberate as the
average person's."

Now, if you aren't up on Roger Pryor, you will suffer
embarrassment from your ignorance. To keep you from
feeling too badly, I'll let you in on a secret — Hollywood
was just as ignorant!

His father is Arthur Pryor, the well-known band-
leader. There are two sons, Arthur, Jr., and Roger.
The father earnestly hoped to keep both boys out of the
professional field. But fate intervened and Arthur be-
came a musician in his father's band for a time, but later
turned his 'talents to advertising; and Roger went on the
stage when he was only sixteen. He couldn't help ab-
sorbing a knowledge and feeling of music, so it is not
astonishing that he learned early in life to play the piano,
trombone, saxophone, trumpet and other musical instru-
ments and when he added to this real acting ability, it
was inevitable that he would {Continued on page 64)

Pryor's latest picture, with
pular team is shown above
the new film.

SCREENLAND

Broadway Gondolier — Warners

If anyone had told me I would take another musical movie
and like it, I'd have run amok, uttering loud, uncouth
cries. But here I am with words of praise, all sincere,
too, for "Broadway Gondolier," a new, handsome, song-
infested entertainment with Dick Powell warbling like mad. "Fall-
ing for Powell again, can't help it — ■" you see, it's got me. If I need
an excuse I'll fall back on the report that this tuneful film has no
"top-shots," no Busby Berkley girls, no ballets. What it does have
is broad comedy, more or less sly digs at radio broadcasting in the
"Twenty Million Sweethearts" manner — remember? — and three or
four of the best tin-pan-alley products I've ever listened to, particu-
larly Rose in Your Hair — which does not, if you'll believe me, get
into your tresses at all, but remains with you to make your life a
misery, it's that hummable. Louise Fazenda as a radio sponsor,
Joan Blondell for romance, Menjou for pathos, this time, instead of
polish ; and Powell, at his most appealing, make this good show.

; £o -SEAL OFi :

Reviews

of the best

Pictu res

Doubting Thomas — Fox

I found this refreshing entertainment, much less home-
spun, and folksy than Our Will's usual efforts, but fun
. nevertheless. You'll have to recover from the slight shock
of finding the Dresden-china Billie Burke cast as a small-
town wife serving her husband's breakfast; but once over that, you
will be set up to discover that she reverts pleasantly to type when
she becomes stage-struck in the most violent form; and acts all
over the place, dressed to the teeth. Will stands by through two-
thirds of the picture, content merely to utter funny sayings about
the insane goings-on of the supporting cast — until, towards the end,
he, too, finds himself — as a crooner, no less ; and until you have
caught Will Rogers crooning, you have seen and heard practically
nothing. A treat, I assure you. You'll have a good old-fashioned
howl, I think, when you see the amateur performance, with Andrew
Toombes contributing really priceless foolery. A newcomer, Fran-
ces Grant, is pretty — and she can dance, which is more important.

The Irish In Us — Warners

So Pat sez to Mike, he sez, sez he : "Sure an' oi heard that
one before." Who hasn't? The Irish, especially, are going
, to argue with certain scenes in "The Irish in Us" as being
just too, too Hibernian for anything. But mostly this pic-
ture is pretty good fun, with Jimmy Cagney and Pat O'Brien once
(can we count on that?) again doing their now celebrated Brother
Act : Pat as a policeman, and little Bruvver Jimmy as a prize-fight
promoter with high hopes for his slugger called Car-barn, played
with hilarious effect by Allen Jenkins. In fact, Mr. Jenkins and
Frank McHugh perform prodigious feats of low comedy to achieve
the almost-impossible, stealing the picture from the Brothers
O'Brien and Cagney. They succeed — but they practically wear
themselves out, to say nothing of their audience. Love interest
occurs when one brother steals the other brother's girl — there's a
new angle — with said heroine becoming a piquant personality be-
cause played by Olivia de Haviland. Mary Gordon is the Mother.

for October 1935

THE PERFORMANCES
MAKE THE PICTURES!

The two POWELLS, DICK and BILL,
lift their respective pictures right out
of the rut: Dick, "The Broadway Gon-
dolier," new twist in music-films; Bill,
"Escapade," in which with ingratiating
charm he introduces to you the interest-
ing new star, LUISE RAINER.

WILL ROGERS gallantly makes way
for a whole castful of amusing ladies in
"DOUBTING THOMAS."

CHARLES BOYER'S dynamic person-
ality enhances LORETTA YOUNG'S
beauty and makes "Shanghai" worth
seeing.

PAT O'BRIEN and JIMMY CAGNEY
make "The Irish in Us" a field-day for
all good Irishmen, and fun for everyone
else.

Escapade — M-G-M

Here's Hollywood proving that it can make one of those
"Continental" cinemas even more adroitly and dreamily
than the Europeans themselves. What's more, "Escapade"
presents the new little import, Luise Rainer, far more
advantageously than she was ever presented on her native screens.
If that's a great, big, patriotic boost for our own dear Hollywood
and its works, make the most of it, for that's exactly what I mean
it to be. I'm a little tired of hearing every other imported picture
or actress acclaimed as "artistic" and our own products labeled
"technically perfect but uninspired." To me, "Escapade" is not
only flawless as to camera work and settings, but it has color,
fragrance, charm. The story is another number about the Little
Miss Nobody who captivates an Important Man, an artist this
time, to the active annoyance of his former sophisticated flames.
William Powell, never more mellowly menacing, makes the artist
a fascinating figure; and little Miss Rainer is really superb.

Shanghai — Paramount

Page Miss Glory — Warners

Here's the month's best Bad Example of a noble cast striv-
ing to overcome the deficiencies of one of the world's most
hackneyed themes — you know, that old one built around
the saying, "East is East, and West is West, and Never the
Twain Shall Meet." That they're always meeting anyway, willy-
nilly and in spite of Kipling, seems no concern of Hollywood
scenario writers. We, however, have to see the pictures that result
from this blissful ignorance ; and I, for one, would complain bitterly
if this time the good old war-horse didn't co-star Charles Boyer,
my current Big Moment among movie men, and beautiful Loretta
Young. This saves the day — but please don't let it happen again.
The devastating Monsieur Boyer's great acting talents are com-
pletely thrown away on his role of a half-caste in love with
Loretta; but the Boyer personality is far from wasted. Miss
Young is grand and Boyer is better. And the twain's meeting
makes for colorful, if phony, drama.

You Screen land readers know a lot about this picture
already, if your contest contributions are any criterion ;
but you'll be glad to know that the completed production
lives up to the advance ballyhoo ; and this is indeed saying
something. Marion Davies has the chance of a lifetime to do the
two things she does so well : enact outrageous and ridiculous com-
edy with supreme ease; and look ravishingly beautiful later on.
The story of the chambermaid who stumbles into fame and fortune
as a beauty contest winner demands gay treatment and Marion
and her cast enter into the spirit of the thing. Result : good light
entertainment. No one concerned, including director Mervyn
LeRoy, Miss Davies, leading man Dick Powell, Pat O'Brien,
Frank McHugh or Mary Astor, makes any attempt to win an
Academy Award ; the idea is to get laughs, and on this score
"Page Miss Glory" is completely successful. The Dick Powell
devotees will rejoice to hear that he sings a Miss Glory song.

SCREENLAND

Gl
Sch

amor

Edited by

That Hollywood miracle, the Young Girl who
is rich, famous, and adored at nineteen,
yet remains a nice young thing, is person-
ified by "Pat" Ellis, who shows you here
her idea of youthful, appropriate clothes
that are also gay in the Hollywood way

A rustic bench, a pretty
gal, the first tang of Fall
in the air — and Pat's brown
and sand two-piece Fall
ensemble, left, call for
cheers. The soft wool
dress is nigger brown; the
mess jacket — see the cir-
cular lapels? — is sand-col-
ored twill, and very smart.

What lucky leading man is Pat Ellis hailing,
just outside camera range, as she leaves
the studio for the day? Pat is wearing
a dashing suit of navy blue trimmed
with a red wool print, right. It's the
smartest new ensemble we've seen.

Bracelet and clip of
beads and rhinestones
carrying out the flower
design of the delicate
lace cape of her eve-
ning gown, above —
charming Ellis inspira-
tion. Very original!

Demure yet provoca-
tive, the high neckline
with tiny ruche of white
mousseline de soie, with
the same sheer fabric
fashioning the sleeves
of Patricia's black
frock, shown at right.

for October 1935

"The Real McCoy" is the
name of Pat's next picture,
and we think this tweed suit,
left, lives up to the title. It's
gray and white zig-zag tweed,
with fur collar of wolf. The
knee-length coat has a flar-
ing line. Pat's creased vaga-
bond hat and gloves are gray.

A hat that "looks like Hollywood" but
is really a Schiaparelli adaptation,
above, is white felt, with a visor brim
and a cockade of coq feathers.

Pat's new double-breasted sports coat,
below, is light gray wool worsted. She
drapes her blue scarf and clips it close
to the neckline at one side.

Between scenes Pat Ellis takes her
cocker spaniel, Reginald, out for
a walk. Reggy wears his cus-
tomary coat, but Patricia steps
out in a decidedly new ensemble
— in fact, this picture is its debut
— of taupe-gray wool in three
pieces. The skirt, cut in four
panels, is topped with a red,
taupe, and silver plaid basque
type jacket and hip-length cape.
Pat's draped turban is fashioned
of the same fabric as her suit.

Exclusively posed

for SCKEENLAND'S

Glamor School by
Elmer Fryer
Warner Bros.

SCREENLAND

Dance to Health

Grace Bradley is one
of the beauties of Ho
lywood. When you
see her young, lithe
grace in Paramount
pictures you may envy
her. But better still,
follow her advice and
dance, dance, dance!
Grace posed for these
beautiful pictures es-
pecially to show you
how inspiring, as we
as beneficial, dancing
con be. Try it yourself!

Tired of routine exercises?
says James Davies, for fun,

DO YOU like to dance ?
If you do, you'll enjoy the things I'm going
to tell you this month. Grace Bradley, who
loves to dance, prefers it to any other exercise
— and she is one of the most graceful, and healthy, girls
in pictures today.

Girls that come to the Paramount gymnasium tell me
that "exercises bore them," they "hate to bother with
them," they'd "rather have a massage." But these same
girls will stay up night after night to dance.

Dancing is the road to grace, as everyone knows, but
it is also the road to health and youth and beauty.

Everyone can do some kind of dancing. The swifter,
more energetic dances won't do for those who have
heart affections ; but there is some gentle swaying
movement that will benefit even these persons.

Modern physicians agree that foot trouble can dis-
organize the entire body. That "my feet hurt" com-
plaint is listened to more carefully today because sick
feet can wreck not only physical but mental health.

I'm going to ask you to take off your shoes and
stockings before you begin these first exercises. We
want to exercise all the bones of the foot.

Stand with bare feet parallel about three inches
apart ; rise very, very slowly to the toes, hesitate
there a moment and drop back to the heels very
slowly. Do this as often as you can during the
day, but always morning and evening as you get
up from or get into bed.

Sylvia Sidney tells me she has done this
simple exercise for years and gives it credit
for her streamlined ankles.

Turn on the radio or victrola for your
dance exercises, for the music is not only a
help to you in getting the rhythmic swing
you must have in them, but it relaxes the
mind. Over in France, people are taught
to relax by music.

Dancing stimulates the glands, but
the musical vibration relaxes and eases
the body. So dancing helps you re-
gain youth if you have lost it, and
assists you to keep young if your
years are few.

In the old-fashioned ballet, the
dancer held her body rigidly,
using her legs as pivots and her
arms in stiff and shallow ges-
tures. Today, everything
about dancing is free; every
part of the body is given a
chance to enjoy the exer-
cise.

Take the movement of
a folk dance, which
anyone can do. Use
little running steps
for this one. It is
not a well-known
dance, but merely
a succession of
simple move-
ments (Cont.
on page 78)

Then go into your dance,
for health, for loveliness!

for October 1935

turns toward

The myriad colors of the artist's palette
contribute much to modern make-up

MARLENE DIETRICH, who is famous
all over Hollywood for her lovely color-
ing, has been having tests made for
natural color films, and it's reported the
results are breath-takingly beautiful. It's said,
too, that her newest picture may have a color
sequence.

If all that the Hollywood birdies are saying is
true, you'll soon be seeing a Dietrich far more lovely to
look at than you've ever seen her before — and that's
saying a tremendous lot. I am afraid you won't be able
to tell, even from the color close-ups, all the subtle
touches of make-up art that Marlene Dietrich and others
have used to get the effect of bewitching, colorful beauty.
So I'll let you in on a few of the make-up tricks I've
seen used.

Beauty, along with the films, is making exciting ex-
cursions into color. Brown shades of rouge and lip-
stick are working miracles. Don't confuse these with
sun-tan make-up. The idea may have started there, but
the brown shades I'm talking about are for all-year-
around beauty. Of course, there is some red in them,
but the dominant tones are brown. They give a warmth
without glaring brilliance to even the fairest lily-white
skin ! And they're perfectly attuned to the prevailing
notion of spotlighting one's eyes.

The Italian influence in costume colors carries over
to make-up with a vengeance. Stained glass or cathe-

Lovely Marlene
Dietrich shows
how she uses
make-up to bring
out the enchant-
'ng beauty of
her eyes. Holly-
wood prophets
predict a great
future for Mar-
lene in natural

lor filr

dral shades, the stylists call these lovely rich browns,
greens and blues, wine, dubonnet and the regal purples.

The important things to remember about the Italian
style of make-up are to feature your eyes, avoid brilliant
rouge and lipstick, and make your skin look as fair and
smooth as possible. Ruddy skins are not admired in
Italy, as they savour of the peasant. The patrician
strives for a pale complexion.

All of which calls for a word about toning down end-
of-the-Summer tan. Most women bleach out naturally
in a few weeks. However, you can speed up the process
with a good bleaching cream. Meantime, there are
make-up tricks that help a lot to make you look lighter.
A coppery tan, the kind you have if you've been careful
about the use of sun-tan oils, is best toned down by
make-up with a good deal of yellow in it. If you've been
left with a legacy of freckles, try using a first coat of
green or mauve powder and then your regular powder
over it. A "muddy" tan can be made to look clearer
by using yellow. (Continued on page 74)

SCRE ENLAND

Here's

Visually as well as
athletically Gin-
ger Rogers can
surely brighten up
a tennis court in
this new shorts
ensemble.

Hollywood!

Taking a swing around the cinema circle to
find out all that's news in the land of the stars

By Weston East

What next! Holly-
wood will answer
that one, but here's
the latest, the lux-
urious lorry which
serves as Ginger
Rogers' portable
dressing-room.

YOU would think with all the
potential Romeos around
town, it would be a simple mat-
ter to find an actor to play him,
wouldn't you? But this situa-
tion is Irving Thalberg's cur-
rent headache. He can't get
Leslie Howard or Robert Donat.
Whom do you nominate? Nor-
ma Shearer will be Juliet.

THE Dietrich-von Sternberg break-
away caused considerable speculation
as to what, who, and where. So imagine
our astonishment to find the two of them
dining blissfully at the Trocadero, just as
if nothing had happened. Just pals now,
we suppose. And recently, la Dietrich has
let down the bars and agreed to submit
to interviews, with the result that every-
body and his wife has a Dietrich story.
During the von Sternberg regime Marlene
was kept inviolate from the press, so about
all we could do was speculate. Now she
has broken down — and the press discovers
she didn't have such an awful lot to say,
anyway. Maybe the old system was best.

THE Rollerdrotne in Culver City is get-
ting the younger generation on wheels,
these days. The other night we saw
Patricia Ellis, Anita Louise, Paula Stone,
the Durkin girls and Henry Wadsworth,
skimming around the rink with a beautiful
disregard for life and limb.

LILY PONS' cocktail party was the
J last word in luxurious affairs, and
the libations were fraught with authority.
The operatic lady herself clung to a large
glass of mellow old orange juice through-
out the afternoon. It is wonderful for the
voice, you know, and not only that — it
matched Lily's costume, until it really
seemed as if she had planned her ward-
robe to set off the glass ! Lawrence
Tibbett was his hearty self, Jeanette Mac-
Donald was a marvelous audience for lots
of attractive men, (that girl is the most
talented listener), and Cary Grant arrived
with Betty Furness. It's a romance, as
you have no doubt heard before. Henry
Fonda is the latest darling of local society,
and a very personable lad he is.

PERSONAL nomination for the best tan
in town — Al Jolson. Al could crash into
"Mammy" right now au natural, and it
would look perfectly logical ! Almost any
life guard would pass out with envy. We
saw him yesterday down at Jack Warner's
beach place at Malibu having himself a
swim. Ruby not around. They must take
turns staying home with the baby.

ADRIENNE AMES and Bruce
■ Cabot, recently divorced, are
out so often together at the
evening resorts, that Hollywood
doesn't even pause to stare, any
more. Most Hollywood couples
seem to get along better,
divorced. Sometimes we long
for a good old-fashioned divorce
with nobody speaking and the
lady declaiming: "I don't like
the guy. That's why I divorced
him !"

AMONG the mysteries: Gloria Swanson,
jlx. Mady Christians, and June Lang.
After publicity campaigns they have silently
been removed from studio contract lists.
Swanson and Christians were to be given
astonishing second chances, according to
Metro. And Fox had been training the
little Lang for three long years !

The flowers are telling pretty Jean
Parker bon voyage as the star
sails to make a film in England.

for October 1933

ALL the stars are pretty well in the dol-
drums, these pay-up days, over income
and other taxes. Bing Crosby has an-
nounced he will retire when he has three
hundred thousand dollars, but his income
tax amounts to more than that this year —
so what ? He is financing half his next
picture to place some of his cash reserve
out on investment. Bill Powell was lament-
ing to this scribe the other day that he
does not have twenty cents left out of every
dollar he makes. Says he would be better
off if he rented a three-room apartment
and made one picture a year !

DID you know that Alice Brady is a
victim of the disease called Claustro-
phobia— which translated means "fear of
shut-in places?" Many a time, crossing
the continent, she has had to leave the train
because she couldn't stand the cooped-up
feeling of the compartment.

WALLACE BEERY'S bosses were
worried, and didn't mind showing it,
when their star boomed an emphatic "no"
to their proposal to use a double for the
scene in which he fights a tiger in
"O'Shaughnessy's Boy." The M-G-M chiefs
summoned a platoon of expert riflemen, all
under orders to shoot to kill the beast if
it appeared to be getting the better of
Beery. Wally entered the cage and went
into a hand-to-claw, and fang, fight with
the animal, with the tiger taking the loser's
end in the fracas. The star emerged from
the cage grinning and saying it was all
just good, clean fun.

A SWITCH in studio schedules, post-
poning her picture for a bit, enabled
Shirley Temple to have her long-wished-
for trip to Honolulu.

When something
new in chic comes
along the chances
are Claudet+e
Colbert will spon-
sor it. Here's
Claudette in her
newest slacks out-
fit. Smart, eh?

At left is la Col-
bert in another art
of which she is a
master — screen act-
ing, here in a scene
with Melvyn Doug-
las for her new film.

RAMON NOVARRO has changed his
. plans. Instead of debuting on the
London stage in "It's Another Story," the
autobiographical drama he had been pre-
paring, he will first appear there in a musi-
cal comedy. This does not portend the end
of his American film career. He has no
intention of forsaking Hollywood.

The Cowboy Philosopher takes to the
bridge of a river boat! Will Rogers,
above, in his newest screen role.

WELL, as the saying goes, all roads
meet in Hollywood. At the moment,
the town is enjoying a hushed breathless-
ness, waiting for all the ex-Mrs. Barry-
mores to meet. They are all here, except
Kathryn Harris — the first Mrs. John —
and it's quite a convention. Michael
Strange, who began life as Blanche Oel-
rich, became Mrs. Leonard Thomas, then
Mrs. John Barrymore, finally Mrs. Harri-
son Tweed— and is now back to Michael
Strange, has arrived in our midst and may
write stories, or act. She is a very beau-
tiful woman, and erratic enough to make
good copy should she choose to become
an actress. (We need some new erratics
out here. Everything is much too calm.
You can't pick on Constance Bennett all
the time.) Then there is, of course, Dolores
Costello, walking in grace and beauty.
Doris Rankin, the first Mrs. Lionel Barry-
more, is living in Santa Monica with her
writer husband, Malcolm Mortimer. With
her snow white hair and beautiful young
face, she is very striking — and she, too, is
considering a picture career. If you re-
member, she was Lionel's leading woman
in many plays and pictures.

DICK POWELL has gone
sartorial in a big way, with
twenty-seven uniforms to be
done up in, for "Dress Parade."
With duplications, in case one
wears out. Now don't scream if
we mention Mary Brian in the
same paragraph — but Mary took
off for London the other day
to make a picture. And guess
who went to the train to see her
off? Right!

DEAR, dear, when our sturdy
he-men go elegant on us we
have to revise all our former
ideas. Now it's George Raft
who has taken up interior decor-
ating and we can hardly bear it.
George admits he is terribly sur-
prised himself to discover he has
an urge to decorate his new
pent-house. But now he'll go
through with it.

DIXIE CROSBY, Joby Arlen and Helen
Twelvetrees made one of the most
attractive pictures we ever happened on,
all in bathing suits and draped around the
Arlen pool. Like three fresh young dryads
— and it was difficult to believe that those
husky boys, Gary and Ricky and Jackie,
playing in the yard nearby, were actually
their children. Bing sauntered over and
assisted Rickey to swim across the pool —
he swims exceptionally well — with a life
belt anchored around his little middle !

OF COURSE, the old-fashioned opera
has been regarded as a museum-piece
by Noel Coward and other sophisticates,
for some time. However, you can't im-
prove on it so very much without inter-
rupting the mood. Pictures are trying to
get away from the stilted old routine and
going a trifle far in the attempt. For
instance, RKO in "Love Song," will have
Lily Pons doing a hot-chat rhumba. For-
tunately, Lily is built better for it than a
lot of other prima donnas.

SCREENLAND

On the set! Robert Young reads the news,
Barbara Stanwyck studies her lines for her
new picture in which Bob has the luck to
be leading man.

DOCTORS seem to be the current rage,
what with Janet Gaynor and her
medico, Claudette Colbert, likewise — and
now Glenda Farrell. Her handsome Dr.
Gaillard is out here visiting from New
York, and oddly enough, happened to be
in Lake Tahoe just when Glenda went
up there for a vacation ! He is the doctor
who took care of Glenda's appendix a year
ago, and has apparently moved up to the
cardiac region. Dr. Gaillard is one of
those dark devastating gents who always
make ladies feel better. And it certainly
wouldn't be hard to take what this doctor
ordered !

TIME out for a bit of levity — since "Life
Begins at Minsky's" the Village of In-
creasing Returns — (Hollywood to you) —
has become burlesque-conscious, although
honestly, the town didn't have much to
learn. You can't live with the four Marx
brothers in your hair, and be very surprised
at a burlesque show, you know. But to
get on with the story : John Boles went
out to dinner the other night, and his host
carved the bird at table. About to serve
Johnny with that celebrated portion — you
know which one — John spoke up promptly.
"Don't give me that Burlesque finish !"
said he.

BILL POWELL'S son, ten years old, is
off on a six-months' bus tour of the
national parks. Some fun, and a grand
way to teach an appreciation of his native
land.

THE preview of "China Seas"
brought out the entire cast,
en masse, and news must have
spread rapidly, because when the
picture was over, the crowd out-
side reached around the block.
And do you know who occa-
sioned the most excitement?
None other than little Carol Ann
Beery, riding proudly on her
daddy's shoulder. It was her
picture debut, and she took it
like a seasoned prima donna.

HOLD everything! Jane
Withers, the six-year-old
veteran, announces with a flourish
she will play no more heavies!
And old lady Shirley Temple
takes out her teeth every night
and relaxes after the day's work.
Or, on request, she will remove
them at almost any time — if her
mother or the director have
their backs turned. Naturally,
removable ivories at that age are
quite a novelty. Shirley has
been parting with her baby mo-
lars so fast, they had to call in
a dentist to fill the gaps.

ROBERT TAYLOR rented a house in
^the wilds of Laurel Canyon to get a
little peace and quiet and live like a coun-
try gentleman. He is back in an apart-
ment, and this is why. Roosters awakened
him at three A.M., in the quiet Canyon.
There was a brush fire that threatened
to wipe out the place. His horses broke
loose and he spent one night scouring the
hills, looking for them. Then his car
broke down, and he had to take a taxi
home — the fare made him think twice. He
will stick to apartments from now on.

NO TWO ways about it, one
good picture will put an
actor on top of the world, Victor
McLaglen is up there now, and
for a good long time, too. The
new Twentieth Century - Fox
organization has signed him to
the first contract since the mer-
ger, and you can look forward
to your favorite tough guy in
lots of good pictures. They'll
have to step to top "The In-
former."

THE GREAT ZIEGFELD" has al-
most become a legend, having been
swapped from studio to studio, with pro-
duction always about to begin and nothing
ever happening. Well M-G-M has de-
cided to start the ball a-rolling now that they
have Luise Rainer to play Anna Held. Bill
Powell will be Ziegfeld. and Fannie Brice
will play herself.

Newcomer! Molly Lamont, brunette
beauty from South Africa, who makes her
American film debut in "Jalna."

H. G. Wells, as Screenland some time ago told you he would, supervises his own stories
as they are filmed. Above, with Sophie Steward, who plays the lead opposite Roland
Young in Wells' "The Man Who Could Work Miracles."

for October 19 35

THE trend is definitely toward
simplicity, with stars "pull-
ing a switch" from the ostenta-
tious estates of old. Gary
Cooper is building a house in
Brentwood on his two and a
half acres of avacado grove. It
will have six rooms — count 'em
— and only two bed-rooms. Con-
siderable contrast to the huge
places of Joan Crawford, Woody
Van Dyke and other neighbors.
Al Jolson is similarly engaged
with plans for his house in the
Valley. It will be compact and
simple. After all, if you have a
flock of guest-rooms, what do
you get? Guests!

JOAN BENNETT'S "going away" party
»J for husband Gene Markey was a riot,
particularly as Gene, at the last minute,
isn't going to England after all. The place-
cards were all duplicates of passports,
with pictures of the guests and a lot of
hilarious data. They were stamped "can-
celled," which made everything all right,
because you couldn't get very far on one
of ihose passports !

GUESS who is the current
"life of the party"? None
other than your favorite war-
bler, Nelson Eddy. In a very
nice way, no furniture tossed or
ribs broken, if you know what I
mean. At Ida Koverman's buf-
fet party, Nelson did a dance
from the classic Greek with a
water pitcher balanced on the
shoulder. That was just before
somebody sat down at the piano,
where Nelson was kept busy for
the rest of the evening.

CAROLE LOMBARD and Walter Lang
are proving again they are pals "on
and off." Together constantly — no ro-
mance, honest — they are equally adept at
thinking up crazy things for laughs. Walter
has directed Carole once, in "No More
Orchids." He is about to do the same
thing again — "Spinster Dinner" is the opus,
and you can look for good entertainment.

Johnny Weissmuller is back Tarzaning it
for the cameras — here he is, fresh out of
the crocodile pool.

wmm

Katharine Hepburn at work (really doesn't look like work, does it?), in a scene with Fred
MacMurray for "Alice Adams." The picture, based on the Booth Tarkington novel of
the same name, seems an ideal vehicle for Katie.

What stars will do for their art! F'rin-
stance, Joan Crawford rides a burro, and
backwards at that, for "Glitter." W. S.
Van Dyke directing.

BINNIE BARNES is almost in tears
since her reception as Lillian Russell
in "Diamond Jim." The consensus of
opinion regrets Binnie's lack of undula-
tions. She rushes on to explain that Lil-
lian didn't have them until later in her
life, and that her figure was as Binnie's
during the time filmed in the picture — her
earlier career. Unfortunately, popular
opinion insists on curves in that era, and
Binnie is going through exactly what so
many actresses have when they have im-
personated an historical figure.

GINGER ROGERS finally went on that
honeymoon trip with Lew Ayres, now
that enough time has elapsed for the di-
vorce rumors to begin. She hasn't been
able to leave the studio long enough, until
now. She took a wardrobe of two dresses
and a bathing-suit, started for Arrowhead,
decided on Del Monte instead, went on to
Yosemite and Lake Tahae, wound up at
San Francisco, both of them tired of driv-
ing. So they gave the car an ocean voyage
home. Ginger begins "In Person," her
first starring picture, right away.

LOOK out! It may be Joan
'Crawford. It has been re-
vealed that Joany resorts to dis-
guises, although just what she
does with her eyes and the
Crawford smile, we are at loss
to discover. Seems she's had a
laugh on the jewelers and real-
tors for some time now. They
quote Joan Crawford one price;
then she dashes out and does a
Sherlock Holmes, returning in
the wig, the new voice, even
hobbling on a stick! Honest, she
says so herself. And of course
the old meany chisellers never
suspect, and she gets things for
as much as two hundred percent
less. Wouldn't you like to have
a close-up of the merchant's ex-
pression when he gets the check
signed Joan Crawford? The
other day she bought a lot for
half the first asking price.
(Continued on page 96)

SCREENLAND

Three fun dispensers meet at the microphone.
Here's Captain Henry, Frank Mclntyre, with
Tony and Gus, George Brown and Mario Chamlee.

Frank Parker, looking very formal here,
now is happily busy making his first
effort as the star of a feature film.

IF A radio star quits Hollywood
for New York in order to
go in pictures, is that news?

Well, let's forget that, and get down to the facts
in this case of reversing the usual order. The facts are
that Frank Parker, tenor whose silky vocalizing has been
one of the most consistently pleasing and widely appeal-
ing musical features of the air programs, interrupted, and
abruptly, his sojourn among the movie stars to become
a movie star himself.

But the important news, we suspect, to the tremendous
popular following of the Irish tenor — who by the way
is half Italian, his mother being a native of Italy, his
father Scots-Irish — is that this slightly screwy version of
how to get in pictures will bring the sight as well as the
sound of their favorite.

"This job," said Frank, after congratulations and
good wishes had been extended to the object of a recent
visit to the old Paramount plant on Long Island, "inter-
rupted the swellest time I've ever had."

This reference, of course, was to his vacationing on
Catalina Island with Ben Bernie, deep-sea fishing with
Clark Gable, the Hollywood holidaying with Jack Benny,
whose program took Parker to the coast with only one

dio

arade

Getting in personal touch with
some favorite air personalities

Tom Kennedy

From the chorus to star of a program
within one year, is the unusual record
of Margaret Speaks, whom you see above.

broadcast a week to worry about.

"Lots of laughs — I hated to
leave." But the trim, dark-haired
and very personable Parker can be serious. Not in that
heavy way — witness, he doesn't even aspire to opera ;
didn't as a matter of fact when, several years ago, he re-
turned to his native America after studying voice and
music in Italy and France. But he's serious about his
picture business.

"It's a good part for me. I play myself more or less,
do some light stuff, and I should be able to play myself,
don't you think?"

We thought so, so the talk turned around to some cir-
cumstances which make it appear like a swell screen
opportunity for Frank. He is a star in the picture,
and the producers of "Sweet Surrender," the present
title of the film, sponsored "Moonlight and Pretzels,"
which you may remember brought to the fore a pre-
viously unknown-to-the-screen young man named Roger
Pryor.

Frank Parker grew up in the same New York as
George Raft — that is, they were youths together setting
out on careers in show business as hoofers.

"We danced at the same (Continued on page 90)

for October 1933

Mrs. Jewell at the Trocadero one night —
a sweet, gentle little woman, but with quite
a peppy look in her eyes which gave me to
believe that if worse came to worse Mrs.
Jewell could take it. The curtains parted
and there was "Miss America" done up in
yards and yards of drapery like Myrna
Loy as a high priestess. The lecturer be-
gan his lecture and our attention was
called to the fact that "Miss America" had
the most beautiful brow in the world. The
drapes began to fall, one by one, and sud-
denly there zvas "Miss America." As the
last drape fell the lecturer fairly shrieked,
"Please note the beautiful hands." Mrs.
Jewell and Mrs. Kelton left immediately
for their hotels.

While I was wondering whether I should
take a look at "Life," for adults only too,
the loud speakers on the midway announced
that Mae West was entering the Fair
grounds if anyone were interested, and it
seems that just about fifty million people
were. Mae arrived in a little something
in white and a train, (I've seen better
places for trains), and when her car was
stopped at the gate she hopped a chair and
told the boy — whose face had one of those
beatific there-is-a-Santa-Claus expressions
— to take her to the Motion Picture Hall of
Fame. When it comes to Loyalty Mae
West is right there. Mae was with the
faithful Timoney, and two bodyguards and
two Pinkerton detectives, ( furnished by the
Fair just in case), but if you think Mae
was trying to dodge her public you have
another think coming to you. She signed
everything from autograph books to a bag
of peanuts. About the thousandth auto-
graph Timoney got a little uneasy and
whispered to Mae that it was time to duck.
"Listen," said Mae, "these are the people
who pay to see my pictures. I'm going
to sign autographs as long as they want
me to." And she did, despite the fact that
one adoring fan ripped the sleeve out of
her dress. After she made a personal ap-
pearance at the Motion Picture Hall of
Fame Mae asked to see the midgets, so
she was driven over to the Midget Village
and you would have died laughing if you
had seen Mae clambering into a midget
house. The furniture being too small she
had to sit on the floor with dozens of
midgets gathered about her. The midget
who impersonates Mae West in the show
climbed up on her lap and I overheard this
priceless bit of conversation : "Miss West,"
lisped the little Mae West, "I hope they
write a newspaper story about us and say
that you're my mother." "Oh, no, oh, no,"
remonstrated Mae, "not that." And just
in case a few reporters might be listening,
Mae added, "Why, I've never even been
married." Well, anyway, Mae took all
their names and addresses and sent them
all a present the next day, and to the
little Mae West midget she sent a diamond
ring.

If the Fair concession owners went mad
over Mae their feelings regarding Francis
Lederer seem to have been directed in the
exact opposite direction. I didn't see
Lederer at the Fair but I was told that he
arrived at the West Gate in quite a state
because he didn't have a car to meet him.
When he was told that cars are not al-
lowed in the grounds he went into a lather,
refused the chairs and the rickshaws, but
finally consented to walk if accompanied
by a Pinkerton detective. But let's not be
too severe with Francis ; maybe in the
country he comes from they don't have
Fairs and savoir-faire.

Believe it or not, the person besieged

Clamor Takes a Holiday

Continued from page 31

by fhe most autograph hunters, with the
exception of Mae West, was Buck Jones.
Buck drove in from the range and after
paying his respects to the Motion Picture
Hall of Fame made his way directly to
the Indian Village, where he inspected
with enthusiastic, boyish interest every
little tepee and papoose' in the joint. With
all the fans and all the little Indians going
nuts about him poor Buck got one heap big
rebuff which he'll probably remember to
his dying day. One of the Indian gang is
an old gal of one hundred and six summers
who is sort of the matriarch of the Indian
Village. Some enterprising press agent
thought it would be a good idea to have
Buck pose with the centenarian-plus-six
and Buck was quite pleased and put on
his broadest smile. But suddenly there was
great chatter from the old Indian in her
native Sioux; she seemed to be raising
complaints. An interpreter was summoned
and announced, "She say unless she get
two dollars and fifty cents she no pose
with movie actor." She got.

Joe Morrison went straight to the Gold
Gulch when he arrived at the Fair and
rode down the gulleys in the old wagon
that used to bring the mail from San Fran-
cisco to Los Angeles in two weeks and six
hours, hot dog. I couldn't exactly decide
whether Joe's enthusiasm in Gold Gulch
was for the old mining town props or for
Lady Godiva — she who got pinched by the
police. Anyway, as soon as the folks down
thar in the Gulch saw Joe they began to
shout "The Last Round-Up," and Joe,
being a swell and accommodating person,
sang his famous song until his throat
ached. Roscoe Karns, naughty Roscoe,
went to the Zoro Gardens, (Nudist Colony,
my dears), where a cute little nude recog-
nized him and shouted, "Hello, Roscoe,"
all of which might have been all right but
it seems that Mrs. Karns was along, and
you know how wives are. Roscoe still
swears he didn't know the girl.

Reginald Denny drove down with Jimmy
Cagney but Shakespeare came between
them and Reginald hied himself to the
Travel building. Reginald has just in-
vented a unique sort of plane and he was
most interested in seeing what the Fair
had to offer in the way of plane equip-
ment. I saw Gloria Swanson and Herbert
Marshall at the Cafe of the Nations and
they seemed to be having a swell time eat-
ing in different languages and watching
the floor show. Gloria had a bright green

scarf, but instead of letting it fall about
her shoulders as any well-mannered scarf
should, Gloria insisted upon sitting on it.
While I was trying to fathom that little
mystery I heard loud yelps of laughter
from the people in the street and rushed
out just in time to see Binnie Barnes, and
my favorite dream-prince, Edward Arnold,
go sprawling in the gutter. It seems that
Eddie and Binnie wanted to ride in a rick-
shaw and Eddie being slightly robust, (and
isn't he swell in "Diamond Jim?" J, gave
the boy who was doing the pulling a few
unhappy moments. When who should hove
to but Slapsie Maxie, good old Maxie
Rosenbloom, Hollywood's favorite prize-
fighter, and he who dances nightly at the
Troc with Mae Murray. "So you want
to ride," said Maxie, and he grabbed the
rickshaw away from the panting boy and
gave Miss Barnes and Mr. Arnold the
ride of their lives while the crowds cheered
and ran to safety — a ride that ended
abruptly in front of the Cafe of All Na-
tions. And poor Miss Barnes and Mr.
Arnold had to spend the rest of the eve-
ning looking like something brought in
from a riot.

A merry foursome doing their stuff at
the Motion Picture Hall of Fame con-
sisted of Chester Morris, Ralph Bellamy,
Lyle Talbot and John Mack Brown.
Chester acted as barker for the Hall of
Fame and 'tis said that he brought in more
people with his peppy lines of chatter than
any of the professional barkers. The Hall
of Fame is being run under the auspices
of the Dominoes and the Screen Actors
Guild, so every Hollywood player, with a
drop of loyalty in his or her veins, should,
and usually does, make an appearance at
the building. All the studios, and most
of the stars, loaned things for the exhi-
bition, and in the outer room you can see
everything from Fred Astaire's favorite
dancing shoes to Bercngaria's cabin from
"The Crusades," and then you pass into
another large room where they show you
how to make moving pictures and actually
take a scene for you, with the visiting
celebrities taking part. Then in another
room is the cutest puppet show I have seen
in many a year with the puppets dressed
up like movie stars and acting all over the
place. Really, if you haven't a puppet
named after you, you just don't belong
socially. Paul Cavanaugh went so crazy
over those puppets that he practically
moved in for a couple of days. Finally he

Fun at the fair! Toby Wing, Phyllis Fraser, Gertrude Durkin, Anne Shirley,
Patricia Ellis, Paula Stone and Grace Durkin, give the very modern touch
to a Henry Ford relic at the San Diego Exposition.

SCREENLAND

inveigled the puppeteers into letting him
manipulate the strings, and now Paul is
building his own miniature theatre at his
home in Hollywood.

After their song and dance at the Hall
of Fame Chester Morris betook himself to
the Home building, for it seems that
Chester is all wrapped up in homes and
furnishings these days — though heaven
knows he and Sue Morris couldn't improve
on the beautiful home they now own in
Beverly Hills. Lyle Talbot is the kind of
a guy who goes in for snappy cars and
likes to see what makes the wheels go
round, so he hustled over to the Ford
building where a car is assembled every
few hours. John Mack Brown, who is a
great-great-great grandson of an Indian

Princess, was interested in the Indian Vil-
lage— Johnny is already a member of the
Indian tribe with the name "Tusca-nega,"
which means "brave warrior." Katherine
DeMille and Victor Jory enjoyed the
Hawaiian show. Ralph Bellamy went kind
of sad on the Fair because he saw at least
six of his old pals, once headliners in the
New York theatre, acting as barkers.

The big romance of the Fair, of course,
is that of Lee Tracy and Estelle Taylor.
Lee and Estelle met there, over the tea-
cups, my word, and have been going to-
gether ever since. That charming come-
dienne, Thelma Todd, seemed most in-
terested in the Food and Beverage build-
ing, on account Thelma runs a restaurant
down at Santa Monica as a side-line and

is making a great success of it. The food
there simply melts in your mouth. Yes,
Thelma makes gaining a pleasure. The
Bing Crosbys and the Warren Williamses
acted like professional Fair attenders and
took in the whole darned thing.

Jimmy Cagney is one of the most loyal
pillars of the Screen Actors Guild, (Ann
Harding is the other), so when he had
consumed his fill of Shakespeare Jimmy
came loping back to the Hall of Fame to
make another personal appearance, but I
must say his enthusiasm was rather damp-
ened by two old ladies from Iowa who
gave him a disdainful look. "That's the
man they have down here today imper-
sonating Jimmy Cagney," one lady re-
marked to the other. "It's all a fake."

This

land, as he finally did, in musical pictures.

But this was not accomplished in the
batting of an eye. There were years of
hard work in stock, then more years as
leads with famous actresses before he was
eventually starred in "Blessed Event."
Even as leading man, he had amazingly
long runs with different plays : 46 weeks
in "The Royal Family," 40 weeks in
"Apron Strings," 40 weeks in "Up Pops
The Devil."

It was while playing in Chicago in his
own production of "Riddle Me This" that
a film producer saw him and persuaded
him to give up his show and return to
New York for the lead in a musical pic-
ture. That is how you happened to see
Pryor in "Moonlight and Pretzels" and
it is also why he was signed on a long-
term contract with Universal.

In the little more than a year he has
been here, he has done ten pictures, among
them being "I Like It That Way," "I'll
Tell The World," "Belle Of The Nineties,"
with Mae West; "Romance in The Rain,"
with Heather Angel ; "Wake Up and
Dream" in which he was co-starred with
the late beloved Russ Columbo ; "Lady By
Choice," with Carole Lombard, "Strange
Wives," and "Straight From the Heart."

If you have been fortunate enough to
see him in one of these pictures, you already
know that Roger is a stalwart, personable
young man, six feet tall, weighing about
160 pounds, with dark brown eyes and
curly hair. He is Dutch and Irish — a
serious person though not sad, notwith-
standing the fact that he admits he is
moody. He is easy of approach, without
a touch of affectation. He is earnest and
sincere, with all the ear-marks of erudition.
While he has a great sense of humor,
which never deserts him, he doesn't care
at all for practical jokes. He never plays
them on anyone, and would not be at all
pleased if one attempted practical jokes on
his guests. Like Mr. Chevalier, he can
laugh at a thing that is funny, but he
doesn't see the humor in spreading tar
over an easy chair and spoiling an evening
gown for one of his guests. Such tricks
seem worse than stupidity to him.

Speaking of guests, I might tell you, he
never entertains in a large way. He has
a beautiful, modern, all-white apartment
in one of the most attractive apartment
hotels in Hollywood, and here he has a
small group of friends almost every eve-
ning. Those closest to him are perhaps
Mr. and Mrs. George Murphy, Mr. and
Mrs. Paul Kelly and a few others whom
he knew in New York. He has been so
busy making pictures since he came, that
he hasn't had time to cultivate many
friends. He rarely goes to large formal
parties, with the exception of the dances

Business of Being An

Continued from page 51

Jimmy Dunn and pretty Patricia
Ellis are happy to be teamed in
a new film, "The Real McCoy."

given by the Actors' Guild and the May-
fair.

Since he came to Hollywood, he has been
seen with Esther Ralston, Ann Southern,
and, prior to her marriage to Ralph
Forbes, with Heather Angel. Roger was
once married himself, to a non-profes-
sional ; is, in fact, still married to her,
though they have been separated for sev-
eral years. She is an expert horsewoman,
(having once held the world's champion-
ship for high indoor jumping), and Roger
still speaks of her as if she were a woman
of great charm.

"Our separation," he said "was purely a
matter of incompatibility. // it had to
occur, I am glad it happened long before
I thought of going into pictures, so no one
could possibly say 'Look what Hollywood
has done to that marriage.' My marriage
had gone on the rocks before I headed to-
ward Hollywood. But, I do miss my little
girl," he added wistfully. "She is 5 years
old and writes me regularly."

I suppose I looked a little startled, even

Actor

accustomed as we are to prodigies in
Hollywood.

"Well," he said "someone probably has
to trace the letters for her, but I am cer-
tain she dictates every word of what is
actually written.

"No, I am not thinking of marriage
again soon, I assure you," he answered in
reply to my further questioning. "You see,
a fellow feels somewhat chagrined at mak-
ing a failure of anything, particularly mar-
riage. No matter whose fault it is, he
feels that he should somehow have been
wise enough to circumvent such a cir-
cumstance, and he is just a little ashamed
to admit he failed. This doesn't mean, in
any sense, that one wants to try to pick
up the old marriage again. There is never
any use in attempting to patch Dresden
china. No matter how well the repair is
made, you are still looking for the place
where the crack was, and the beauty of
the piece is spoiled for you. When a
broken marriage is stamped with the de-
gree of finality that four or five years of
undisturbed separation gives it, one had
better consider that chapter closed. But
that doesn't prevent one from experiencing
a feeling a great pity that, when conditions
were so nearly perfect, especially when
there are children, they could not have been
absolutely perfect."

Roger has an intense family affection.
You observe it when he speaks of his long-
ing to see his little girl ; you sense it when
he expresses his gratitude that both his
parents and his brother are still alive, and
you constantly feel it in the warmth and
interest he feels for his fellow men.

Because he is being thought of as a
screen lover, in spite of his protests, he is
being excavated like an ancient city.
Nothing about his past or present is being
left undisturbed. But his splendid mind
and sensibilities are not disturbed by all
our frank questions. He answers those he
thinks we should know about and smiles
in a disarming, non-committal fashion when
we ask him something he doesn't care to
talk about.

I was much interested when I finally
coaxed him to tell me the dominant char-
acteristic he admires in women — the qual-
ity he would want to find in a woman he
might hope to care for — and you would
never guess in ten years what it is. Not
femininity. Not charm, glamour or beauty.
The thing he asks of a woman is ambition!
He hasn't the slightest use in the world
for drones. He likes women who have an
objective and are working to that end.
The fact that they have ambition gives
them a driving force, an inner fire, that
produces an irresistible attraction.

Now, who says this Roger Pryor isn't
different enough to keep us interested?

for October 1935

"ID

PART*

Pimples were
"ruining her life"

| "I had counted so much on my
first high school 'prom'! Then my
face broke out again. I could have
died. My whole evening was a flop. I
came home and cried myself to sleep.

2 "Those pimples stayed. Even
grew worse. Then, I heard about
Flelschmann's Yeast. I began to
eat it. Imagine my joy when my
pimples began to disappear!

Don't let adolescent pimples
spoil YOUR fun

DON'T let a pimply skin spoil your good times
— make you feel unpopular and ashamed.
Even bad cases of pimples can be corrected.

Pimples come at adolescence because the im-
portant glands developing at this time cause
disturbances throughout the body. Many irritat-
ing substances get into the blood stream. They
irritate the skin, especially wherever there are
many oil glands — on the face, on the chest and
across the shoulders.

Fleischmann's Yeast clears the skin irritants
out of the blood. With the cause removed, the
pimples disappear.

Eat Fleischmann's Yeast 3 times a day, before
meals, until your skin has become entirely clear.

3 "Now my skin Is clear and smooth as a baby's. I'm being rushed by
all the boys. Mother says I don't get any time to sleep!"

Many cases of pimples clear up within a week or
two. Bad cases sometimes take a month or more.
Start now to eat 3 cakes of Fleischmann's Yeast
daily!

Eat Fleischmann's Yeast as long as you have
any tendency to pimples, for it is only by keeping
your blood clear of skin irritants that you can
keep pimples away.

by clearing skin irritants
out of the blood

66 SCREENLAND

A Star is Made

Continued from page 33

He was seated at a huge desk in the
most magnificent office Diana had ever
seen. She couldn't decide whether the
movies got its ideas of offices from rooms
like this — or if movie executives got their
ideas from the movies. The walls were
grey, the chairs in grey velour or red
leather, curtains were grey and white over
scarlet Venetian blinds.

Trauber pressed buttons, talked into
three telephones seemingly simultaneously.
It seemed an hour before he was ready for
her.

A man came in to get her, then. She
was to be given a rush test, the pictures
to be ready almost at once.

"I'll send for you when the rushes are
ready," Trauber said.

Make-up, then. A different make-up,
this time. In a mirrored room given over
to turning ducklings into swans. Diana
watched as the thin, creamy grease-paint
was applied. When her make-up was fin-
ished a girl arranged her hair and then
another woman gave her a plain black
evening gown.

A man led her down long corridors, past
closed office doors, to the stages.

They were on a set. A living-room
which faded into a Western mining camp
saloon. Great machines from which came
bars of blue light were already in place.
There were machines for sound, and
cameras, too. A camera man was there,
half a dozen other men, a couple of women.

A wiry little man, who, Diana found out,
was Huppman, the director, came up to
her, asked her name.

"Better than I'd hoped," he said, ap-
parently addressing everyone but Diana.
Then he turned to her. "Go to that table,"
he said, "take a letter off of it, open the
letter. You're very gay. You read the
letter. It has bad news. You say, 'Oh,
my God !' Mr. Boggard comes in. You
tell him you've had bad news."

"What?" asked Diana. She hadn't the
least idea what the man was talking about.

He changed his tone, addressing her a
bit as one would talk to a feeble-minded
child and told her all over again.

"I see," said Diana, miserably. She was
sorry she'd got into the whole mess. Well,
she might as well go through with it.

She tried to feel happy as she came onto
the scene. She felt pretty silly. She picked
up the letter, read it, went through a sim-
ulated horror. Boggard came on. They
rehearsed it again. Then the cameras
ground. There were other bits, then. They
seemed silly, too.

Trauber had said to wait. The others
went away. No one spoke to her. She
waited. The lunch hour came and went.
What if they'd forgotten all about her?
She couldn't wait forever.

Finally, a boy passed, came back.

"You Miss Wells?" he asked.

"Yes," said Diana.

"Mr. Trauber wants you in Exhibition
Room C," the boy said, and was gone.

Diana asked questions. Found the room.
Yes, they had rushed things through !

The small room held big leather chairs
facing a screen. A dozen people were
there.

Suddenly Diana was nervous, eager.
Two days ago she had had no desire for
a screen career. Yet something must have
made her hold back from marriage with
Michael — and accept this chance so eagerly.
And now, suddenly, this was all-important.
Diana knew, now, that she desired more
than anything else in the world to be in
the movies. She had never wanted any-

thing quite this much before in her life.

Her test pictures, then. Where was the
tall, graceful girl she had pictured her-
self? She was too fat. Her nose was too
prominent. Her mouth was funny. Her
walk awkward. She wanted to hug her
knees in humiliation. What would Trauber
think of her?

The test pictures were over. She and
Herrick and Trauber were in Trauber's
office. She hadn't had time to tell them
how terrible she knew she was.

Trauber was smiling. "Pretty good,"
he beamed. "I never make a mistake in
a face."

"You think I'll do?" asked Diana.

"Sure," said Herrick.

"Sure," said Trauber, "with the proper
training. I'll get your contract made right
away."

The winnah and his proud owner!
Charles Ruggles and his prize
Schnauzer, Joshua of Marienhof.

"I'll have to ask my mother," Diana
said.

"Of course," said Trauber, and picked
up a telephone. "Where can you reach
her?"

Rather dazed, Diana gave her home tele-
phone number in New York. In two
minutes she was talking to her mother.

Her mother, a little dazed, too, agreed
that Diana could stay in Hollywood. Yes,
indeed, it might be a wonderful oppor-
tunity.

Things moved swiftly, then. Trauber
yelled a dozen telephone messages. Peo-
ple came in, asked Diana dozens of ques-
tions.

A contract to sign, then. Five years
with options. A small salary to start.
And plenty of raises.

"If you make good, we'll write a new
contract," Trauber said. "We'll have to —
to keep you from going some place else,
after we've got you all built up."

At dinner, Diana told, quite casually,
what had happened. She was a bit vague.
She had a "chance" to be in the movies.
And then she added something she had
just decided. She'd take a little apartment
for herself. It would be far more con-
venient all around. She could see them
all just as frequently.

She took the apartment. One room.

With a disappearing bed, a dressing-room
and a kitchenette.

Sara liked the idea of Diana being in
the movies. They'd hear such interesting
things !

Michael wasn't at all pleased with the
turn of affairs. This wasn't the way he
had planned his life. However, he tried to
be a good sport about it. He loved Diana
a great deal. If this was what she wanted
out_ of life, well, yes, it was an oppor-
tunity. He wouldn't stand in her way.
He hoped, so hard, it wouldn't change
things too greatly.

At the studio Diana plunged into a dozen
activities. Some evenings she was so tired
she couldn't even have dinner with Michael,
but tumbled into bed as soon as she got
home. Usually, though, she and Michael
had dinner together, at the Stone's, or
with Sara and Bill, or the two of them ate
alone at one of the attractive, inexpensive
little places Michael knew.

Diana realized how Michael felt about
the studio. She- was careful not to talk
too much about what she had done during
the day, even though she was bubbling
over. It was nice to be with Michael.
He was a dear, peaceful and pleasant.
That's what she needed, after her days at
the studio.

The days were exciting. First, there
were voice lessons. Diana had thought she
spoke well enough. She found, now, that
some of her head tones were wrong, that
her accent was "undistinguished." A fa-
mous English actress, too fat for the
movies, took her in hand. She did scales
and breathing exercises, learned new pro-
nunciations and intonations. Luckily she
was a good mimic, an apt pupil.

Sara and Michael laughed at some of
her new pronunciations and, at first, she
did feel rather affected. But they were
correct. Why be provincial, when you
have a chance to be cosmopolitan, instead?

Simultaneously, came the work of getting
Diana's figure into correct screen propor-
tions. She found out that you photograph
ten pounds heavier than you actually are.
She had thought of herself as a slim girl.
Now she discovered her hips were too big,
her waist thick, her shoulders heavy.

First she was put on a diet, which cut
out most of the things she liked. Sweets,
bread and butter, potatoes. She found
that her diet was far less strenuous than
many others who were aiming for a movie
career.

There were exercises and massage, too.
The exercises were mostly bending and
stretching. The massage was actually
painful. A woman came in each morning
and pommelled, until Diana ached all over,
though later she felt eager and alive and
her skin tingled.

This wasn't all of Diana's making-over
process. Her nose was too fat. This
meant an actual operation. Diana felt like
rebelling. She didn't rebel.

She went to a hospital instead. She
was awfully frightened. A nurse jammed
needles of novocaine into her nose. A
doctor cut and snipped. It didn't hurt —
not right away.

A few hours later the pain was dread-
ful and in spite of the ice-bags the nurse
brought Diana tossed in misery. In a few
days the pain was gone but Diana's nose
was swollen and discolored. What if the
doctor had made a mistake? What if her
nose was spoiled forever.

The doctor and nurses laughed at her
fears. It was one of the simplest opera-
tions, they told her. In a week the stitches

for October 1935

plays safe

with her
handbags

This charming actress carries only handbags featuring the

security of the automatic -locking

ONE thing the clever actresses of
Hollywood won't tolerate is
the haphazardly fastened hand-
bag. They want security — as well
as smart style — at all times. That's
why they insist upon handbags
featuring the Talon automatic-
locking slide fastener.

They've found that this flexible,
easy-working fastener gives them

absolute protection against acci-
dental opening — that it means extra
convenience — extra trimness.

And you'll find that TALON on
a handbag always means superior
quality and smart design — because
only the finest manufacturers make
their handbags with Talon fasten-
ers. And all the leading stores sell
them — in your own favorite styles.

slide fastener

Here's your prof.ee--
tion—the automatic'
locking feature! Tug
at the sides of your
bag, drop rf, turn it
over — the fastener
can *£ come open,
even a little, unless
you pull it.

BOOKLESS FASTENER CO., MEADVILLE, PA. . NEW YORK • BOSTON • PHILA. • CHICAGO • LOS ANGELES • SAN FRANCISCO • SEATTLE • PORTLAND

SCREENLAND

Fellow funsters! Jack Oakie welcomes to Hollywood Herb Williams, left,
and Willie Howard, from the Broadway comedy stage, now in pictures.

were removed. In two weeks Diana had
a new nose. From the front there was no
change. Profile, it was classic in its per-
fection.

Teeth came next. Two of Diana's teeth
were too small. They seemed dark, caused
her mouth to look uneven. A dentist cut
them down, provided them with jacket
crowns, matching perfectly the teeth next to
them. This meant more novocaine, more
days of unpleasantness. But now, when
she smiled, Diana's teeth were even and
white.

She wondered if other girls went through
this process of being made over. She found
that many of them did. She heard stories
of teeth being made even, of noses and ears
straightened, of lines removed, of eyes slit
at the corners to make them larger. The
public wanted perfection. The public must
be served.

Diana's brown hair was lightened until
it was almost gold. It was given a new
cut and a new wave. Now she was ready !

New make-up to darken and accentuate
her eyes and lashes. Rouge to accentuate
the appearance of her already high cheek-
bones.

It seemed curious to Diana that all of
this time and energy should have been
spent on her — an unknown girl without
influence. She found it was just one of
the things that went into making topsy-
turvy, fascinating Hollywood.

There were new tests. And the awkward
girl, a bit too hippy, with a nose that
wasn't quite right, was transformed into
a glorious girl with glinting hair, a tip-
tilted nose, lovely, even teeth, a graceful
body.

Diana's first picture was not important.
The star hogged the biggest scenes. After
the cutting room did its share Diana's part
was very slim, indeed. She was in a pic-
ture. That was the main thing. And she
was not humiliated when she saw the
rushes.

"Fishermen's Wives" was a little better.
She had more to do — and had learned to
be at home on the screen. Several reviews
spoke of her and some of the publicity the
studio sent out about her appeared in the
newspapers.

Two more pictures followed. In both of
them Diana was adequate, pretty — and un-
important.

She was a real movie actress ! She
knew her way about. She knew about
"sound tracks" and "location" and "dolly
shots." She knew how unimportant authors
are and how script girls always make
mistakes. She knew fifty technical terms,
a dozen stage tricks. She knew directors
and featured players and stars. She learned
a dozen unprintable scandals, fifty small

intrigues. She knew about the star who
was so generous that no one would believe
all the good she did. About the star who
was so stingy and mean no one could bear
her. And about the brave he-man star
who was constantly in fear of his life. She
knew of real and fancied romances.

Her own life was singularly free from
intrigue or excitement during those first
pictures. Trauber, unlike the usual pro-
ducer of fiction, did not try any unneces-
sary intimacy. Herrick was always cool,
silent, business-like. A few of the other
important men spoke to her but none of
them made anything that could be con-
strued as "passes."

One star, already on his way out, became
a little too ardent and threatened to "get
even" when Diana repulsed him. She knew
there was nothing he could do. A few
harmless young men asked for dates but
it was easy enough to discourage them. A
few girls were a bit catty. That was all.

Iowa and Sunny burst in to see Diana,
after the release of her third picture, and
remembered how intimate they had been
on the train and how they had promised
to "stick together." Diana promised to do
anything she could for them. They were
still extras. Their "influence" hadn't
helped them, though Sunny thought she
saw a chance to be a regular bit player
and Iowa felt that with the proper break,
her own success couldn't be far off. They
both let Diana know that they felt her
"success" hadn't been quite fair.

Diana still loved being with Michael,
though he didn't seem quite as much fun
as he had been. For one thing, she was
usually tired. Michael didn't have much
money to spend, for things weren't going
awfully well with him and he refused to
let Diana pay for any of their amusements
or even go "Dutch treat." Oh, he knew
she could afford it. That was part of the
trouble. But when he took his girl out
he'd pay for her ! She'd been satisfied,
before, with what he had to offer. He
seemed a little put out, too, when Diana
recognized people in gay groups and he
always refused to join them.

"I can't afford to pay my share and I
won't sponge," he'd say. "Besides, all they
can talk is pictures. They don't care any-
thing about me. It's you they want. If
you want to see them you'd better go with
them when I'm not along."

Diana wanted to be loyal to Michael.
She began to be invited to parties and
she tried to persuade Michael to accom-
pany her. After she'd stayed away from
a dozen because she didn't want to go
alone she began to listen a bit more eagerly
to other invitations.

When Tony Bryant, the star in "April

Rain," Diana's last picture, asked her to
go to a party with him she told him she'd
go. She knew all about Tony. He was
separated from his wife but not divorced.
He was good-looking, jolly, gay, success-
ful. And Michael seemed so settled and
serious.

Tony took her to supper at a colorful
Hollywood cafe and then to a party at
Grenna Mayfor's beach house. There was
quite a bit of drinking — but Diana had
seen drinking before. The crowd was jolly
and didn't break up until after a ham and
egg breakfast. Diana was glad she didn't
have to be at the studio the next day —
but she was glad, too, she'd been to the
party.

"Let's go out a lot more," begged Tony.
"You seemed so prim at the studio. I'm
glad to find you can be gay, outside."

This was living! Why not? You're
young only once. She was a Hollywood
movie actress ! She had had her first raise.
Everyone told her how well she was doing.
New friends who were jolly — and nice par-
ties— that was part of the picture, too.

There were more parties. A week-end
party at Ella and Sam Moreland's coun-
try place, with funny practical jokes and
gay laughter and not too much drinking.
And parties where you met stars and direct
tors. Diana found out about the different
sets — some exclusive and conservative,
others a bit too wild, too gay. She tasted
them all.

What if you were a little tired in the
morning? Just so you went to bed early,
the nights before you were in pictures and
didn't drink too much and didn't get in a
scandal. Have fun ! What else was life
for, anyhow !

Diana and Michael still had pleasant,
calm evenings together. He was still
Michael, handsome and sensible and good —
but he didn't seem as understanding. He
talked seriously about Diana's new friends.
She liked her new friends. Could Michael
be jealous? He talked about marriage.
Diana wasn't interested in marriage.

There were other things to think about,
besides parties and Michael. Important
things.

Diana was cast for an innocuous role
in a rather unimportant picture. Shooting
would start soon, and in the meantime she
was keeping up with her studies. English,
singing — and now she was starting to take
French, too.

And then a curious thing happened. A
big picture, "Scarlet Stain," was getting
ready for production. Alva Winters had
been cast to play opposite Lucian Roemer.
And Alva Winters, at the last minute,
wouldn't take the part ! The role was that
of a scheming woman and Alva felt that it
would ruin her forever with her public,
who had seen her only in sweet young
girl parts. Funny, how the public some-
times gets acted parts and personality
mixed up ! Alva was afraid of that.

Six stars, then, were offered the role,
read over the story — and declined. Then
Maybelle Morrison, who was beginning to
fade, considered the role. She had been a
glamorous girl before talkies came in. She
talked a lot of "coming back," not know-
ing that that means you're already on the
way out.

"I couldn't think of coming back in an
unsympathetic role," she said. "The mil-
lions who are waiting for me wouldn't want
me like that." Which, curiously enough,
was one of the last things, for the public,
that Maybelle ever said. She never got
the offer of another good role.

They decided to make the part less im-
portant and find a good leading woman,
instead of a star, to play it. And all the
prominent leads to whom they offered it
declined !

Diana read the part and liked it. She

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had an idea. She immediately went to
Trauber with it.

"Why can't I play Belle in 'Scarlet
Stain'?" she asked.

"I thought you were all set in 'Friends
Forever'."

"You can find a hundred girls to play
that !"

"And you think I can't get anyone to
play Belle?"

"It looks that way."

"You think you're big enough — after half
a dozen minor roles ?"

Diana grew earnest. "Honest I am,"
she said. "You took a chance, getting me

here at all. If you'll take one more

chance — "

"But your first big role, in an unpleas-
ant character !"

"I don't care. It would take years, be-
fore I'd get that far, any other way. Hun-
dreds of girls like me are trying to get
ahead — to say nothing of the thousands of
extras. Try me out anyhow !"

Trauber smiled. That wouldn't be a
bad idea. Diana's salary was low, com-
pared to the girls he'd been considering
for the role. He couldn't get anyone he
really wanted. This attractive girl with
her eager, confident air might be just the

SCREENLAND

one for the part. The production date had
already been delayed. The release date
was getting too near for much more ex-
perimenting.

The next day Diana was given a test
for "Scarlet Stain." A pretty little blonde
was given her part in "Friends Forever."
And Diana waited and worried. What if
she'd made a mistake, thrown away her
opportunity? She felt that the result
would make or break her movie career.
Three days later Trauber called her in and
told her she could have the part of Belle
in "Scarlet Stain."

(To Be Continued)

I Won't Be A Hollywood Hero!

Continued from page 17

his dressing-room. He frankly doesn't care
for interviews, but he is too polite to be rude
to those who are interested in him. It was
a warm Saturday morning, and he had
knocked off eighteen holes of golf at Toluca.
He looked as if a valet had just turned him
out.

"There is a regular rigamarole for stars,
you know." He grinned and tilted his chair
back against the wall. "You're supposed to
have dash. To be daffy, I say ! They
claim you have to put on an act, and it's
curtains when you're caught short without
your trimmings." If there had been a spit-
toon, and if Randy were the sort who'd
chew tobacco, he would have aimed for it
then. He ran his right hand through his
sun-bleached hair and his blue eyes, char-
acteristically stern, twinkled amusedly.

"I didn't nourish a dying passion to be a
movie actor. Unlike Merton, I never dreamt
of a fabulous salary and fans in my food.
I prefer my glitter in a Joan Crawford
flicker, where I can take it or leave it alone.
My money is going into bonds, not into
'front!' "

You mustn't infer that Randy isn't serious
about his work ; he is. But he sharply de-
fines the line between the actual job of act-
ing and "what a lot of folks expect goes
with it." The fast and flashy mode is not
for him.

"I don't think nonsense is necessary," he
went on. "A certain amount of publicity,
yes. Of a dignified brand, so you won't
blush when you catch your own eye in a
mirror. I don't think you have to be os-
tentatious.

"Nor go Bohemian, either. You know,"
he confided, "my mother is a religious
woman and she brought us up in what
Hollywood would dub the old-fashioned
way. To control our emotions, to respect
our elders, and ourselves."

Which is why Randy isn't taking his pres-
ent click big, of course. He was born in
the South, of a fine family, and his heritage
is not that of the topsy-turvy, irresponsible
show-world product. Instead of cultivating
influential big shots, he naturally knows
them because his good breeding and air of
intelligence has attracted them. Others
move into Beverly mansions. Randy stays
on in his single apartment, untempted by
the opportunity for flaunting his fame.

His mother's principles, handed on to
him, are why he hasn't married yet, too.
He is one of "the top" in the feminine rat-
ing of the colony. Remarkably handsome,
clean-cut, eligible in every respect, Randy
would be a terribly romantic lover because
he is such an idealist. And an excellent
head of a household because he is so steady.

The average movie male is impulsive.
Fun for a fling, but seldom sure-fire for a
long run — as a lady star aptly phrased it
for me. I believe an important part of
Randy's vogue is due to women sensing the
genuine qualities of the man. Here is no
suddenly blown-up Lothario.

He has dated several of our screen beau-
ties, for he likes companionship. But he
has never fallen in love ; Hollywood's
standards and his don't agree. Easy-come,
easy-go is not in his lexicon ; his must be
the bride the years will shine on. So far,
he hasn't met a girl whom he could love
with all his heart, who could stay on the
pedestal a lady should adorn.

"Stop me if I'm being too direct," he
mused. "But the truth is that most of the
girls I've encountered don't seem to want
to settle down." Since he obviously was
not steeled against reporters, as Hollywood
heroes are with their lines calculated to ex-
cite, I didn't take advantage of his honest-
ness. You nice young women, cheer up.
Men like Randy Scott are going for just
your sort, so don't let your code get hotcha !

He hasn't sacrificed directness for diplo-
macy. As far as that goes, he hasn't given
up his varied interests. The one-track mind
is standard equipment for the boys in his
class. Hollywood heroes are intrigued with
themselves and their other topic is the riabv-
ies. This rebel prefers to discuss a variety
of things. I had to urge him to talk about
himself.

"I came West with no serious intentions
lurking beneath my calm surface," he de-
clared. "You see, I was destined to go
places in the textile manufacturing busi-
ness. I enrolled at Georgia Tech — you
know, 'I'm a rambling wreck from Georgia
Tech — !' When Twas permanently black-
balled from the varsity, on account of some
injuries I received on the frosh football

'Atta boy, Hugh Herbert, stick to
it and some day you'll be able to
roll your own so they'll smoke.

team, I went back to my native state, and
to the U. of Virginia."

Randy's father was an administrative engi-
neer, and a good one. He sent his pride
and joy to Europe and then, realizing the
textile business held no allure, attempted to
rouse a liking for his own kind of work.
Very likely Randy would have stayed there
in the South if a chum hadn't persistently
extolled the West. Before becoming a solid
pillar of Virginia he vacationed in Cali-
fornia for five months.

"I hadn't even tried to get inside of a
studio. Shortly prior to packing for the
return trip, my friend and I were golfing
with Howard Hughes. He kidded us for
leaving without getting a glimpse of 'the
inside Hollywood.' We told him okay, go
ahead and arrange us a peep. He had us
sent out to Fox as extras the next day."

Done up in a form-fitting Australian uni-
form, Randy Scott stood out of the crowd
like a neon sign. By noon the head casting
director was on the set, expressly to inter-
view him. He left when Randy had con-
sented to a test. Before the end of the day
a Cecil DeMille scout had heard of this
wonder and had wangled his way in to
leave word that the great C. B. desired a
conference !

Bewildered at all this attention, and en-
chanted by his brief glimpse of how pictures
were made, Randy reported to DeMille,
who was then casting "Dynamite." Being
a fellow Southerner, and astute judge of
potential talent, and, so it turned out, a
friend of a friend of Randy's, the director
waxed enthusiastic.

"If you'd ever read a line on a stage I'd
put you into the lead in my new production !"
he exclaimed. "But since this is my very
first talkie, I can't take the risk. You ought
to stick around out here, though. Get some
stage training. I'm sure you've got what
we want !"

An airmail letter home informed the
Scott family of this amazing turn. If he
really thought he'd be satisfied with acting,
they answered, they had consented to allow
him to see what he could do.

Comprehending that the sensible move,
was to acquire literal instruction, Randy
scorned the obvious, flashy system so many
Hollywood heroes have followed. He might
have been lazy, and relied on pull. He
might have gone in for film society, party-
ing until there were other offers. He didn't
even bother to "be seen" at premieres and
night spots.

What he did was to go over to the Pasa-
dena Community Playhouse, the West's
foremost dramatic training school. Eight
months of coaching there led to three pro-
fessional juvenile engagements on Holly-
wood stages. The third play, starring Leo
Carrillo, was Randy's last. Paramount put
his name on one of their dotted lines and
presto, he was a screen hero!

That he was capable of stepping into pic-
ture prominence in so short a time was due

I /

/
/

KC3DL

MILDLY MENTHOLATED

C2^

CORK-TIPPED

for October 1935

to luck, yes. But far more to his study.
Acting is a regular job to Randy, an ac-
quired taste. He has gone about it exactly
as he would have learned the rudiments of
engineering had he remained in Virginia.

He wasn't encouraged to try for dra-
matic roles, being kept for almost four years
in Westerns. They consistently made big
profits and the producer in charge of them
knew what a draw the Scott fellow was.

That he escaped the rough-riding rut in
one jump is but another tribute to his per-
sonality and application. That he waited for
his aptness to speak for him, rather than
prodding the producers with sensational
methods, in typical Hollywood hero fashion,
is significant. He still avoided publicity.
Nothing can force him into the familiar,
pushing, egotistical pattern ; neither under-
estimation nor, as at present, a rush of
popularity. He realized what being in
"Roberta" with Irene Dunne, Fred Astaire,
and Ginger Rogers might mean. But, still,
he doesn't gloss over the real story of how
he got the part which has definitely lifted
him into the front row at Paramount.

"I had done several pictures with Bill
Seiter, who was set to direct 'Roberta,' and
one day he 'phoned me that he thought I'd be
a natural for the football hero. I didn't
think I really had a chance, because I'd
heard Joel McCrea was going to get it.
After all, I'd been doing outdoor stuff for
so long that most of the directors on my
own lot never dreamt of me in any other
light.

"But I was called over to Radio for a test.
Later Seiter told me I would have the role.
As I came back here, to my dressing-room,
I ran into Joel downstairs, just about to
use the pay-phone. 'Come on upstairs where
it's quieter,' I said. He called his wife and,
of course, I couldn't help overhearing. 'I've
had a fight with von Sternberg, and I'm
quitting the Dietrich picture. But I'm going
right into Bill Seiter's film' said Joel.

"Naturally, I didn't say anything to Joel,
but I thought to myself, 'Well, that's how it
is.' Next morning I was out at Toluca,
playing golf. A caddy ran out from the
clubhouse, saying I should come in for a
very important call. I said, 'Oh, nuts!'
What was the use of getting perturbed. It
couldn't be anything that couldn't wait until
I finished my game.

"When I did go in, it was Bill Seiter.
They were waiting for me to go right into
the made-up tests! Joel was out! After-
wards I discovered that he could have had
the part if his agents hadn't demanded
nearly three times what Radio had been
paying him."

Today, thanks to that break, Randy is
finishing the lead opposite Margaret Sul-
lavan in one of Paramount's biggest pro-
ductions, "So Red the Rose." He has be-
come far too valuable to consign to any
more Westerns.

His hope is that his good luck will hold
out, so that he may remain in California
indefinitely. The art of acting intrigues him
and he is happy that at last he is receiving
assignments which allow substantial scope
for improvement. Not having a long thea-
trical preparation, he feels that only plenty
of diligent concentration will get him by.

Golf and swimming are his hobbies, and
he is a sun-tan fan. Acquiring a gorgeous
bronze is one of his personal problems. Be-
ing so fair, he darkens quickly — and then
four days in on the sets and he has to start
all over again.

Randy is 100% alert as he is progressing;
watching and absorbing what he thinks will
help him. But, as he stated so emphatically,
he's becoming no Hollywood hero ; even if
it's customary with screen success. He re-
fuses to go high-hat, hay-wire, or to hand
out any hooey. And any of you damsels
who are hatching a campaign for his affec-
tions take my tip : you'll do better if you
lure like a lady !

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SCREENLAND

High-Flying Hollywood

Continued from page 23

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discovery who screen-debuted in "The
Flame Within" and who plays opposite
Ruth Chatterton in her come-back picture.

This, at least, is the expert verdict of
Bob Blair, head of the Los Angeles Mu-
nicipal Airport. Favorite instructor of
stars ; it was he who taught Ruth Chat-
terton and who accompanied her on her
recent New York-to-Hollywood spin. She
keeps her 'plane at his field, and reports
almost every day for more advice. Carole
Lombard and Jimmy Dunn are also among
his pupils now.

Query a press-agent as to stellar aero-
nautical ability and force of habit causes
big blowing. Men like Blair, however, are
not so extravagant with their statements.
After all, being able to handle an airship
competently, entirely on your own, is far
different from posing prettily next to one
and letting a professional pilot assume re-
sponsibility.

For example, Ann Harding has fre-
quently been described as an air ace. Yet
she does not fly herself. When she and
Harry Bannister first were flung into
Hollywood wealth, they not only built that
magnificent mountain-top palace, but a
$17,000 'plane was ordered, too. It was
her husband who was the real flyer of the
family, and after their split Ann sold the
ship. She often utilizes the airways, but
she hires her pilot.

"In my opinion," says Bob Blair, an im-
partial critic to whom the stars rate only
on genuine ability, "the two I'd absolutely
trust under any conditions, any time, are
Ken Maynard and Louis Hayward. Those
men are the unadulterated McCoy !

"The best among the women is un-
doubtedly Ruth Chatterton. And she's been
at it for just three months. Already she
is equal to the majority of men flying
today — you can verify this by the Depart-
ment of Commerce inspectors."

Ken Maynard's Stearman 'plane is the
seventh he has owned in that many years.
He was the first Hollywood player to se-
cure a pilot's license, which he did in 1928.
With more than five thousand hours to his
record, he is the most audacious of them
all. Soloing over Mexican wastelands is
one of his habits. Between films he is
acquiring a first-hand knowledge of arche-
ology by flying down to the ancient Mayan
ruins to pal with the scholars excavating
there.

"Flying isn't half as dangerous as riding
a horse !" exclaims Ken. Mrs. Maynard
enjoys accompanying him and they wouldn't
dream of any other means of transportation
when they crave to get away from it all.
Lucky for this husband that he picked a
wife who shares his hobby. He is glad
the ladies are becoming more courageous,
asserting that it is their participation in
the fun which has brought about all the
comforts the new 'planes possess.

The new Waco that Louis Hayward has
purchased cost $15,000. This twenty-five-
year-old character juvenile from England is
mad about the whole business of flying.
He totes a brief-case full of data around
and beams as he masters another table of
facts. His life has been thoroughly af-
fected, too, for he was one of those the-
atrical souls who preferred to sleep days
and stay up nights. Since coming to
Hollywood and concentrating on movies
and airplanes, he has reverted to normalcy.

The most expensive 'plane in all Holly-
wood is Wallace Beery's. Years ago when
he first started as a star, Wally was mad
about autos. He had the latest and drove
at a furious speed. Flying captured his

heart right after he appeared in "Robin
Hood," so you can gather how long he's
been an air addict. But he is not fond
of stunts.

"Only experts should try them," he states
with emphasis. "Flying is a cinch for
anyone who is an excellent automobile
driver. You won't flop if you're careful.
Accidents are due to the people pulling
boners, not to the 'planes. Today they've
been perfected."

His new Bellanca is a six-passenger
cabin-cruiser which set him back $26,000

Apt pupil! Ruth Chatterton and
Bob Blair, the star's aviation in-
structor, beside Ruth's 'plane.

and averages two hundred miles an hour.
It is equipped with every possible instru-
ment and contrivance. As a matter of
fact, Wally's is the only private 'plane in
the United States which has a radio com-
pass. He can tune in on a station and be
automatically guided to it !

He has bounced like a rubber ball when
caught in storms. But, although Mrs.
Beery and his studio have worried on oc-
casions, they needn't have. Wally is be-
yond the age where he'd tempt fate. He
believes that every person who flies should
set a sensible, encouraging example.

A regular pilot is on duty at all times
at the Beery hangar. Wally may decide
on a business trip to New York and tele-
phone for an appointment there tomorrow.
Or he may want a quick jaunt to his
mountain cabin at June Lake, in the Cali-
fornia Sierras. There he has his own
landing field and can eat a trout dinner
and he back on the set in the morning.
Incidentally, he's an officer in the U. S. air
reserve force.

So is Ben Lyon, who learned to fly for
his role in "Hell's Angels." A lieutenant
in the 322nd Army Pursuit Group at Long
Beach, Ben is a conservative flier. Twice
he has cracked-up, but both times he
escaped injury and he himself was not pi-
loting. Oddly, world-renowned men were !
While riding with Jimmy Mattern, Ben
was pancaked to earth near San Ber-
nardino. Then, when he went up with
Roscoe Turner to assist in welcoming an
assemblage of aviators at the Breakfast
Club one morning, he was amazed to find
Turner's ship sitting down in the near-by
river bed.

Ben's own 'plane burned in its hangar
in Culver City last winter and when he
and Bebe Daniels are certain that they'll

for October 19 3 5

stay on the Pacific Coast they'll he in the
market for another. Now film-acting at
Fox, if they resume their stage show in
the East they'll rent a 'plane when they
wish to take off and up.

Bebe herself is honorary colonel of the
army group to which Ben belongs. She
has done some flying, but is still in the
strictly amateur classification. Yet when
friend hubby chose to fly the continent
she accompanied him — twice, and with no
twinges.

The only star who learned to fly during
the World War is Paul Lukas. At Metro
they claimed he was a genuine ace and
has medals by the chestful. Paul's words,
typically sincere, confute their boasts. "I
was in the Hungarian air service ; yes.
But a hero? Oh, no. I thought it would
be better to live than to die for my nation.
I wasn't even in an air battle during those
hectic days !"

He uses his 'plane for social excursions,
to Palm Springs during the winter season,
and to Del Monte for golf and tennis.
Friends are invited along, but Daisy Lukas
exercises wifely rights and goes by car.
She is scared of his avocation.

While George Brent was married to
Ruth Chatterton it was said that she re-
fused to let him continue with his flying.
Now that he is a lone wolf again he has
bought a beautiful all-white monoplane and
he disappears into the blue whenever he
feels like it. His Kinner is a low-wing
job and cost $3,500. When Garbo returns
from Sweden she probably will go sky-
skidding with him. So far she tank she
prefer Georgie's roadster !

There is something about Mexico's
strange mountains and plains that intrigues
the daring. Mr. Brent finds interviews
a nuisance and after one of the bores last
month he headed South to recupe. He had
no notion where he was going, but charted
his own course and didn't come home for
ten whole days.

His conversation currently deals with
the air tutoring he has begun. It cost him
$300 to learn to fly and he is anxious to
help those who cannot afford expensive
instruction. "It's the right of every young
fellow," he states, in explaining why he is
donating his time and his own 'plane for
lessons. He has a couple of other pilots
and 'planes lined up and all the aspirant
has to pay is the actual cost of the gaso-
line required.

A number of the men in the transporta-
tion department at Warners are availing
themselves of this opportunity. Harmon O.
Nelson, Bette Davis's husband, intends to
when his orchestral engagement in San
Francisco ends. Ultimately Brent visual-
izes a Hollywood Air Legion ; this may
materialize before the year is over. When
news of his proposed unit of patriotic flyers
leaked out, he was deluged with feminine
applications. Of course, they want him to
be their teacher — which is a better gag
than the old teach-me-to-swim trick !

The Brent-Chatterton parting wasn't
quite so chummy as the Forbes-Chatterton
separation, so Georgie isn't to be credited
for Ruth's remarkable new air adeptness.
It was while being flown to and from the
desert last winter that she was inveigled
into considering it herself.

Scintillating at whatever she decides to
do, Ruth took to flying with astonishing
nonchalance. She paid $7,500 for her
Stinson-Reliant 'plane and broke it in by
piloting it across the continent. Ruth is
not only the first actress to do this — and
her flying time was twenty hours ! — but
she is the first woman in Hollywood ac-
tually to own an airplane. And it's no
average affair, either.

On the contrary, she has it all dolled
up. It's a four-seater. The cushions are
red leather, and the rest is daintily uphol-
stered exactly like an automobile's insides.

Wash hand-knits with
IVORY FLAKES'9

URGE THE MAKERS OF MINERVA YARNS

1. TAKE MEASUREMENTS or trace out-
line of sweater on heavy paper.

2. SQUEEZE LUKEWARM SUDS of pure
Ivory Flakes through garment. Do not rub,
twist or let stretch.

3» RINSE 3 TIMES in lukewarm water
of same temperature. Knead out excess
moisture in bath towel.

Knit one, purl one — when you put a lot
of time into knitting a sweater you don't
want it to become little-sister's-size after
its first washing! Wool is sensitive — it
shrinks at the mere mention of rubbing,
hot water or an impure snap !

So wash your woolens with respectful
care. And be especially sure to use cool
suds of Ivory Flakes. Why Ivory Flakes?
Well, listen to what the makers of
Minerva yarns say: "We feel that Ivory
Flakes are safest for fine woolens be-
cause Ivory is really pure — protects the
natural oils that keep wool soft and
springy."

Read the washing directions on this
page, follow them carefully — and your
hand-knits will always stay lovely as new!

«>0 41/IOO O/o

PURE

4. DRY FLAT, easing back (or stretch-
ing) to original outline.

WHEN DRY, appearance is improved by
light pressing under damp cloth.

IVOMY FLAKES

SCREENLAND

B R I

EYES BEHIND GLASSES!

Lots of women we know hesitate to wear
glasses because they believe them unflat-
tering. Not a bit, if you beautify your eyes!
Glasses make them look smaller — so enlarge
them . . . with Kurlash, the little imple-
ment that curls back your lashes lastingly
between soft rubber bows. Your lashes ap-
pear longer and darker. Your eyes look
arger, brighter, deeper! Opticians recom-
mend Kurlash because it keeps your lashes
from touching your glasses. $ 1 . at good stores.

Don't neglect your eyebrows, either! Tweez-
ETTE, which "tweezes" out an offending
hair at the touch of a button, is the easiest
way known to shape your brows, painlessly,
at home. Make them conform to the upper
curve of your glasses, and the latter will be
less noticeable! $1, also, at your drug store.

S£w did Kit

Behind your glasses, you can use eye make-
up liberally and defy detection! Try Shad-
ette, at $1, to give your eyes size and allure.
And the little marvel Lashpac to travel in
your handbag everywhere. It holds a stick
ot mascara for accenting brows and a little
brush to groom them later. Also $1. Write
me it you aren't sure what shades to use!

Jane Heath Will gladly send you personal advice on
eye beauty if you drop her a note care of Department
C-10. The Kurlash Company, Rochester, N. Y. Tlte
Kurlash Company of Canada, at Toronto, 3.

The gray broadcloth has its cigarette cases,
snap lights at the rear windows, and pulls
to clutch when she zizzes you around a
corner.

Her feat is spurring on several of our
other glitter girls. If she can do it, so
can they ! Carole Lombard, who aspires
for the crown as the town's most dashing
miss, has had to sandwich her lessons in
between studio calls, but she's bound to
beat Ruth. As soon as she gets her license
she'll buy a 'plane. You know what ele-
gant ideas Carole has for her clothes and
how gorgeously she did over her house —
so hold your breath for the innovations
she'll be introducing in airships !

Gail Patrick has quietly been discover-
ing just how they're managed. She will
be applying for her pilot's license in the
near future. Gail didn't let Paramount in
on her doings until she'd sat at the con-
trols of an open Kinner on trial flights to
Las Vegas and San Diego.

It's Grace Bradley who has to win her
mama's okay before she can go at it in a
really big way. She has experimented and,
being twenty-one and full of vim, she liked
it heaps. But she always waits for the
maternal go-ahead signal. Good Gracie !

The one star who has suffered injuries
is Hoot Gibson. He cracked up when
entering the national air races two years
ago. Hooter's 'plane was demolished and
he was in the hospital for months. Well
and active in Westerns again, he is vowing
that it won't be long before he is the
beaming daddy of another airplane.

When Robert Montgomery first became
a star, he took up aviation. He got his
pilot's license. And then Mrs. Bob said
no and that was the finish of his flitting.
Statistics be darned ; it's dangerous to her!
Besides, there's only one darling like Bob.

Stu Erwin's little woman feels precisely
the same way. This past spring Stu had
some weeks off, so he ambled out to an
airport and took a few lessons. When
June Collyer got around to checking
up, Stu checked out. He's permanently
grounded until she sees the light.

That wives do relent is proved by Mrs.
Warren William's capitulation. She finally
saw that Warren would be home more
often if he were a flier than if she con-
tinued to object and he went on being
such an ardent yachtsman. He goes to sea
for days, but he's not apt to stay up that
long ! Consequently, the mechanically-in-
clined W. W. is enrolling for a complicated
set of instructions.

The one husband and wife who have
taken up flying together are the young Ross
Alexanders. They consider an airplane
part of a Hollywood success and so they
each have become soloists of the first
calibre.

Folks are frequently fooled by Evelyn
Venable's dignity. It belies her extra-
ordinary zest for everything thrilling. A
bride of not quite a year, she has no kick
to register at Hal Mohr's flying. Probably
because she knows how useful an airplane
can be. Here's a nevertold secret : her
father opposed her marriage and she agreed
to a trial separation for awhile during
their engagement. But every so often she
and Hal couldn't stand it — and so they
sneaked off for a bit of spooning in Hal's
'plane ! He is celebrating the signing of
a new contract as a highly-paid camera-
man by purchasing a new one. And Evelyn
is going to learn to run it herself.

Henry Fonda upon arrival in Hollywood
had five weeks to wait for his screen debut,
"The Farmer Takes A Wife." Instead of
hey-heying, he devoted the period to learn-
ing to fly. Not that he intends to buy a
'plane, but "just because it's a modern
accomplishment every progressive young
man should master." Who knows — if he
falls in love it may be handy !

This flying craze meets with Jimmy
Dunn's full sanction. He got the bug in
"Bright Eyes," when he was supposed to
be an aviator. Pretending was such fun
he resolved to become a real one. A par-
ticularly promising pupil, he is coming
along fine and will be whizzing his very
own shortly.

After almost a decade's lay-off, Richard
Arlen is re-enthused and swears he's going
to be one of the best of the Hollywood
boys. Acting as a war bird in "Wings"
was so lengthy a process that he picked
up a lot of pointers then.

Wally Beery and Ben Lyon have the
highest rating the government gives, trans-
port pilot licenses. The Ross Alexanders
have applied for the same. To get even
the regular pilot's license you must have
fifty hours of sane, successful soloing, and
must pass written and physical examina-
tions.

So you understand that the stars who are
foremost in the new thrill aren't faking. It
isn't publicity — they can't do it with stand-
ins ! And, as they say at the swanky
parties these nights, it is relaxing. You
forget all your woes and concentrate on
what and how you're doin' — or else!

Beauty Turns to Color

Continued from page 57

A group of make-up bars in department
stores have established three types of make-
up to go with cathedral colors. There is
Veronese for the blonde. You come out
looking ethereal, with the help of green and
the tiniest bit of yellow in your powder, lip
rouge that is light but has strong blue tones,
and cheek rouge that has some blue or pale
green in it and is absolutely minus in purple.
Eye-shadow and mascara are blue or green.

Titian make-up for the lucky red-head
uses a creamy powder. The rouge tones
contain brown instead of the customary
orange. The lipstick is brown and the eye
shadow a gorgeous rich emerald. Brown
mascara.

For the brunette, there's Florentine — a
very rich yellow powder, purple rouge that's
closer to the color of ripe plums than any-
thing else, dark purplish red lipstick and a
finishing touch of amethyst mascara and
eye-shadow.

There is a fascinating evening powder
that uses nine different shades, not mixed
up, so you see the green, purple, yellow, red,
etc., until the powder is actually on your
skin. The basic color is adapted to one's
skin tones and the other colors added to
give a pearly transparent look instead of
the appearance of a flat plane. The theory
is that the ligh is reflected on the myriad
particles of color in a way that gives an
illusion of depth.

Eye-shadows are almost every color un-
der the sun and there's a strong trend to-
ward combining them. The only color that's
taboo is red. Any shade of red makes the
eyelids look puffy.

You'll find it easier to do a good job of
applying eye-shadow if you put a founda-
tion on your eyelids first the same way you
do for cream rouge. Apply the eye-shadow
from the middle of the lids out toward the
temples, as close as you can get it to the

for October 1935

Cloth of gold and silver fox, and
more importantly, Loretta Young,
making a blend of beauty.

lashes and eyebrows, but never near the
nose. If you apply cream rouge as you
should, bringing it up toward the temples,
the eye-shadow should be shaded right into
the outer edges of the rouge.

With the increased use of cream rouge,
by the way, the idea of applying color in a
triangle is passe. Pat your cream rouge
lightly over the cheekbones with one finger
and blend it outward and upward with
another. If you look tired or have dark
circles, blend your rouge right up to the
lower lids of your eyes. It'll take the place
of six hours of sleep as far as appearance
goes ! Never bring your rouge down lower
than the tips of your nostrils. Rouge ap-
plied low gives a heavy appearance. Using
it high and blending it toward your temples
has the effect of lifting the face as well as
brightening the eyes.

Compact or dry rouge has just one use
in modern make-up. That is to brighten or
touch up your complexion, especially if
you've gone pale during long hours away
from your dressing-table. Apply it only on
the area around your cheekbones, never
close to your eyes. Dry rouge and powder
must be kept away from the eyes as they
have a dulling effect and the one important
thing about eyes is to make them shine.

Use powder liberally, but for beauty's
sake, do it in a way that makes you look
unpowdered ! Never rub your face with a
powder puff. Pat and press it on, down the
middle line — forehead, between the brows,
nose, chin, and neck. Then smooth it gently
out over the rest of the surface. A powder
brush is one grand help, as you can whisk
away any excess and completely avoid that
"dipped in the flour barrel" look.

The tip of your little finger is the best
tool you've got for making your lip rouge
smooth, lasting, and non-transferable. Ap-
ply your lipstick to the center of your upper
and lower lip, blend the color toward the
edges with your finger-tip, and then run the
stick firmly over the inside of both lips.
When you retouch your lips, start inside
and work out. If you want a dull, natural-
looking finish from the start, press a cleans-
ing tissue against your lips as soon as you've
made them up. Then put the tissue between
your lips and press them together. The
shine comes off, but enough color stays on.

S^Wtf ijoivl liaik aMl

ALLURE to a CLOSE-UP"?

Don't risk OILY, straggly locks, or DRY, dull hair.
Use the individual shampoo for YOUR TYPE of
hair to bring out its beauty

For OILY HAIR

Packer's Pine Tar Shampoo is simply
grand because it's a treatment as well
as a shampoo. Gets your hair clean as
silk . . . rinses easily . . . and besides, it
is gently astringent. Tends to tighten
up those flabby oil glands that flood
your hair with oil! Helps each sham-
poo actually to improve the quality of
your hair!

Packer's Pine Tar Shampoo is made
especially for oily hair by the makers
of Packer's famous Tar Soap.

For DRY HAIR

Never, never shampoo the dry type of
hair with a drying soap or liquid! Use
Packer's Olive Oil Shampoo— an emol-
lient treatment made especially for dry
hair. In addition to rich olive oil, it
contains glycerine to soften your hair
and make it shine.

Shampoo as frequently as you like
with Packer's Olive Oil Shampoo. It
is safe . . . made by specialists in the
care of the hair ar.d scalp for more
than 60 years.

PACKERS

PINE
TAR

for OILY hair

OLIVE
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for DRY hair

SCREENLAND

RICHARD ARLEN

PICKS

NATURAL LIPS

AS LOVELIEST!

■ ■

HERE'S WHAT RICHARD ARLEN SAW

UNTOUCHED PAINTED

Film star
chooses
girl with
Tetngee lips
in Hollywood
test

@ And most
men agree with
Richard Arlen !

Richard Arlen makes lipstick
test between scenes or ""Let
'em Have It," a Reliance
Pictures production.

They prefer lips that are rosy and soft . . . not
coated with paint ! If you want your lips to be
lovelier, use Tangee Lipstick. It can't give you
"that painted look", because it isn't paint.
Instead, it brings out your own natural color
. . . makes your lips kissable . . . more appeal-
ing. For those who prefer more color, espe-
cially for evening use, there is Tangee Theatrical.

Try Tangee. In two sizes, 39c and $1.10. Or,
for a quick trial, send 10c for the special 4-
piece Miracle Make-Up Set offered below.

O BEWARE OF SUBSTITUTES ...wlienyou luy,

ask for Tangee and ue sure you see the name Tangee
on the package. Don't let some sharp sales person
switch you to an imitation. . . there's only one Tangee.

FACE POWDER ^1?^%^

* 4-PIECE SVSIRACLE R/IAKE-UP SET

THE GEORGE W. LUFT COMPANY SU105
417 Fifth Avenue, New York City
Rush Miracle Make-Up Set of miniature Tangee
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Powder. I enclose 10f* (stamps or coin). 15^ in Canada.

Shade □ Flesh □ ^chel □ Light Rachel
Name

Please Frmt

Address-

City-

State-

Danger! Genius at Work!

Continued from page 25

after time and ruin film in attempting to
portray. Above all, her response to the art
of Chaplin amazes me. Much of the spon-
taneity and simplicity of truly great por-
trayal he has taught her, but I still contend
that she could not, without her own fine
intelligence and sensitivity, absorb these
things to so adequate a degree. There are
no hysterics here, no tears, merely quick
reaction to suggestions — and then an eager,
"Was I all right?" at the end of the scene.
I can only hope that the screen will carry
the wistfulness of her characterization as
the waif, the mixture of boldness and fear
in the gamin, and the sudden brilliance that
stamps her as a person just as definitely
as sophistication, ennui, or remoteness may
mark other of our actresses.

Of the perfection of Chaplin's art there
is little left to say. As he comes upon the
set and calls "ready" to the cameraman,
Charles Spencer Chaplin, patron of arts,
philosopher, and political economist, drops
out of existence, and the figure in overalls
and enormous shoes becomes a symbol of
the struggle of man to adjust himself to his
world. That the struggle is humorous saves
it from giving any pain. I feel that no one
can be impervious to the whimsy of Chap-
lin's helplessness before the machines of
the factory, the riotous imagination of his
dream-world, the feeble defiance of jail and
jailers, and the just as feeble attempt to
imitate the tight-lipped and straight-laced
human beings who would reform him.

During the days that I have watched
this picture growing I have come to see
clearly what I merely felt about the Chaplin
pictures before. Since, in my teaching, I
have been dealing with the material of drama
and its history for some time, my conclu-
sions are bound to be influenced by my pro-
fession. But at any rate, I perceive that
the Chaplin films are today the only expres-
sion we have of universal comedy, and by
"universal" I mean typical of the whole
range of human experience and the unchang-
ing nature of men. Our playwrights_ and
novelists have lost the sense of magnitude
that originally belonged to the art. They
have limited comedy to type — drawing-room
intrigue, mere light-hearted farce, or com-
plete slapstick. Chaplin alone carries on
the traditions of this form of drama which
was born some 2430 years ago in Greece.

That may seem a large statement, but I
am not afraid to make it, for I have the most
expert testimony to uphold me — the testi-
mony of the man who long ago defined both
comedy and tragedy, and did the job so well
that we have really added nothing important
to what he had to say of them. His name
was Aristotle, and he wrote about 350 B.C.
This man sat among the citizens of Athens
in the great amphitheatre as our critics sit
in moving picture houses today, and watched
the yearly festivals in which were produced
the greatest tragedies and comedies of
Greece. He decided that the line between
tragedy and comedy was very thin. Both
showed men in action, with the ordinary
faults of human nature. The difference be-
tween the two. however, was this. Tragedy
presented men whose faults led to their de-
struction, and the audience was exnected to
take warning from the fall of the great, and
go home fearful. Comedy also showed men
with all their faults, but this time the weak-
nesses were exaggerated until they were
ridiculous, and the spectators could laugh
at them even while recognizing their own
follies in the characters on the stage.

The nature of true comedy has not changed
since Aristotle watched in the open-air am-
phitheatre so long ago and came to his con-

clusions. If it is to have any significance it
must still show men in action against big
forces, and it must still make us see some-
thing of ourselves in the ridiculous fellow
on the stage even as we rock with laughter
at his antics.

Chaplin alone, I say, understands this
purpose. He is producing comedy of pure
fun, but also of a very large order. It
gallops through all our average daily activ-
ities at a hilarious pace, at the same time
showing us the ridiculous in mankind and
his various organizations. We see Paulette
as the waif, left with younger brothers and
sisters to feed, joining Chaplin in the search
for work and subsequent adventures. We
see them both, very gay, making havoc of
the order of a department store, while Chap-
lin attempts to teach the waif to skate —
himself zipping perilously around the brink
of a pit, looking back for her approval and
much concerned that she merely covers
her face and shrieks when he is waiting for
applause. There will be the big shoes, the
tiny mustache, and the meaningful grimaces ;
Chaplin sprawled upon a great dynamo, at-
tempting adjustments with a crescent
wrench ; spurting oil in the face of the officer
of the patrol wagon ; sitting with a sur-
prised but belligerent expression upon his
fallen comrades in the prison corridor ; or,
just as surprised, in stiff decorum, drinking
tea with the parson's wife. Such scenes are
perfect buffoonery in a comedy that is
great enough to know exactly how to use
buffoonery.

To all this presentation of mankind and
his society the screen is peculiarly well-
adapted, for it can -show action upon a large
scale. Add to this factor the excellence of
technique, of acting, of photography, and of
story that make public satisfaction possible ;
throw in one uniting force — the genius of
Chaplin.

What more can be asked?

These hints are all that I shall give. The
picture does not "speak for itself" in the
usual sense. It ACTS for universal man-
kind— and such has been the Great purpose
of comedy for 2400 years !

Jane Baxter, screen beauty of the
British studios, displays a new frock
to advantage.

nails deserve GLAZO

Lovelier, longer-wearing

for October 1933

Ask Me!

By Miss Vee Dee

Peggy. You know how to pick your
favorites, and they are all winners, too.
Katharine Hepburn was born in Hartford,
Conn., on May 12, 1908. She is 5 feet 5y2
inches tall and weighs 105 pounds. Jean
Harlow is 5 feet 3^4 inches tall. Jean's
latest is "China Seas," with Gable and
Beery. Claire Dodd was born December
29, 1908. She has green eyes, blonde hair,
is 5 feet 6 inches tall and weighs 120
pounds. Kathleen Burke is 5 feet 6 inches
tall, weighs 120 pounds and has brown eyes
and dark brown hair. She was born in
Hammond, Ind.

Marion L. S. We are having our raves,
both private and public, over the fascinat-
ing Frenchman, Charles Boyer. Since his
first featured role in "Caravan" with Lor-
etta Young, my mail box has over-flowed
with letters asking about him. He played
with Claudette Colbert and Joel McCrea in
"Private Worlds" and with Katharine Hep-
burn in "Break of Hearts," and is with Lor-
etta again in "Shanghai." He was born
in France but he doesn't say just when.
His wife is the charming little English girl,
Pat Paterson — yes, the same Pat who
played with Nils Asther in "Love Time."
Sometime ago Boyer appeared in "Heart
Song," a British film, with Lilian Harvey
and Mady Christians ; in "Thunder in the
East," with Merle Oberon, and in other
European screen successes.

F. E. B. Pauline Garon hasn't been al-
together inactive in pictures for she has
been doing French versions of American
films for some time and she will doubtless
be seen on the screen again in our pictures,
as so many of her friends are asking for her.
That lovely little radio star, Frances Lang-
ford, who has won many admirers through
Dick Powell's "Hollywood Hotel" radio
program, will be seen on the screen with
George Raft, Alice Faye, Patsy Kelly and
the Three Radio Rogues, in "Every Night
at Eight," and with Jack Benny in "Broad-
way Melody of 1936."

K. Poivcll. Claire Trevor's newer films in-
clude "Black Sheep" and "Dante's Inferno."
She was born in New York City on March
8, 1911. She has golden hair and hazel
eyes. Bert Wheeler was born in Paterson,
N. J. Judith Allen has brown hair and
blue-grey eyes. Sylvia Sidney was born
in New York City on August 8, 1910. She
has the star role in "Accent on Youth"
adapted from the recent New York stage
success. Constance Cummings had the
same role in the stage play. Playing with
Sylvia in the film are Herbert Marshall
and Phillip Reed. Richard Cromwell's real
name is Roy Radabaugh. He was born on
January 8, 1910, in Los Angeles, Cal. He
is 5 feet 10 inches tall, weighs 148 pounds
and has light brown hair and blue-green
eyes. His latest picture is "Annapolis
Farewell," for Paramount.

Beatrice M. Leon Janney's hobbies are
stamp-collecting, horseback riding, tennis
and the study of Latin. He was born in
New York City on February 15, 1919. He
loves the stage and makes an occasional
picture. I can't tell you what the E in his
name stands for. Barbara Stanwyck's con-
tract with Warner Bros, having expired,
she was signed to make a picture for RKO-
Radio, under the title of "Annie Oakley."
Barbara was born in Brooklyn, N. Y., on
July 16, 1907. She is still married to
Frank Fay.

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IruifiMiA&p
im ROMANCE

It's your EYES that invite men
— How to frame your EYES
ivith long, seductive lashes.

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Dance to Health!

Continued from page 56

that I have designed for you. Make all
gestures wide and free. Listen :

You are a musical washwoman ! You
come out with a big, (imaginary), wash-
basket on your head which you support
with arms upraised, head held high. You
get the basket down, (without bending the
knees), select a piece of laundry from it,
shake it to the right, then to the left, then
pin it up high on the line. Repeat with six
to a dozen pieces of laundry, bending down
for each piece and swinging the body
rhythmically to the right and left before
stretching up to pin the article to the, (im-
aginary), line. Do this, of course, to music.

Be sure you try this barefoot, rising to
your toes as you hang your laundry and
taking each piece in both hands make your
swing to right and left with arms out-
stretched.

A certain well-known singer is said to
have given as the secret of her slim figure :
"Confetti."

It seems that each day when she got up
in the morning, she threw a bag of con-
fetti over her bedroom floor. Then she
bent down and picked up each bit sepa-
rately !

I can't hope that you will go as far as
this, but it would not be a bad idea for
those of you who complain of protuberant
abdomens and excess hips to drop a dozen
buttons around every morning.

Ballet dancing is excellent for acquiring
poise, since it gives you control over your
muscles, and the basic exercises of the bal-
let are fine training. However, ballet
dancing will not relax you, and most
women today are far too highly keyed ; they
need relaxation, not stimulation.

Girls who stand on their feet all day
frequently tell me that they can go to a
dance at night and come home feeling less
tired than when they started. That is be-
cause music helps them relax. When the
musical vibration enters the body, the
nerves react and the glands respond. Ri-
gidity means age and ugliness, where re-
laxation means youth and loveliness.

Ballroom dancing, even at its most dig-
nified, will give you this relaxation. In
fact, if you are beginning to dance after
thirty, I think ballroom dancing is safest
for you, aside from the barefoot exercises
in your bedroom. If you have not danced
from childhood or your early teens, do not
go in for strenuous "bar" exercises. Don't
be persuaded to put your foot up on a
table and bend your head down to touch
your knee, or attempt fancy back-bends,
etc. Be content with things you can do
without too much effort.

Girls engaged by the studio to dance in
Paramount pictures, sometimes worry over
the development of large muscles in their
legs, especially in the calves. Professional
dancers give their legs as great care as
famous pianists do their fingers, but all
girls don't seem to recognize this.

If you are going in for dancing as a
career, or if you dance a great deal for
pleasure, you should watch your legs and
keep them shapely. Try this treatment
daily :

Massage warm olive oil into the legs
from the knees to the ankles, working with
a gentle circular movement, swiftly; five
minutes for each leg. Wipe off whatever
oil remains and apply heat — towels wrung
out of hot water, (scaldingly hot), is a
good method. Do this for ten minutes,
then dry the skin and apply ice, then mas-
sage again lightly with a slight amount of
oil.

If you feel too weary to go in for foot-

work, yet want the benefit of dance move-
ments for the upper part of your body, you
can do the "sitting-down dance," as fol-
lows : It was designed as an aid to good
posture, so be sure you maintain correct
posture throughout — head exactly on top
of your neck, neck the same length back
as front.

Sit astride the piano bench, hands grasp-
ing a rod — a cane or a curtain rod will do.
The rod lies across your thighs. When
the music begins, you slowly raise the rod
in both hands until it is held high above
your head, at the same time bringing your
legs up together on top of the bench. Now
bend the elbows and bring the rod down
behind the shoulders, being very careful not
to thrust the head forward or round the
back at all. Swing the rod upward again,
then down in front, bringing the legs back
to starting position at the same time.

Do you know how to make an old-fash-
ioned curtesy?

Turn on the music and proceed around
the room, dropping curtseys at every four
steps. Do this barefoot, trying alternately
the curtsey which means a mere dipping of
the body and the one which permits you to
sink to the floor.

For the first one : Stand on left foot,
describing a half circle with right toe that
brings this toe around to the back of left
foot, obliquely ; then bend both knees and
spread arms and hands out to the sides as
you curtsey.

For the second one : The circle you make
with the right foot is wider and finishes
about ten inches in back of the left foot
so that you can sink down to the floor when
you bend your knees ; let your hands fall
gracefully at sides as you do this.

This is especially excellent for the knees
and helps make them supple and strong.
If you remember to hold yourself well
while you are doing it, you will find it also
an aid to developing correct posture.

Another exercise that is good for the
knees and ankles can be combined with a
neck exercise and done to music :

Stand erect with arms at sides. Rise on
the balls of the feet, raising the arms above
the head ; turn head slowly to left, then to
right ; slowly sink to squatting position,
owering arms to front, even with shoulders,
and bend head back ; then raise head,
straighten knees, drop arms and lower
heels. It sounds complicated, but you can
do it !

Watch Marlene Dietrich and Carole
Lombard if you would see graceful hands
and wrists.

You can't look graceful if your wrists
are stiff. Massage will keep them flexible,
but they should have exercise to make them
graceful.

First we will try some exercises for the
hands and wrists alone, then combine these
with some of the foot routines and do them
to music.

Shake your hands loosely from the wrists
to relax them. Rest your elbows on the
table, forearms upright, and let the hands
fall forward from the wrists, the fingers
curling naturally. Let the long middle fin-
ger curve toward the thumb. Now bring
the hand up and let it sink back toward the
shoulders, so that the palm is uppermost.
Repeat with both hands alternating, then
together, making the movement as graceful
as possible.

Repeat the movements with hands held
out at sides, bending the elbows a little as
the hand rises with palm up. Then bring
the arm down, with the wrist leading. Try
again with hands held over the head.

for October 1935

Take dance steps around the room in
waltz time, bringing hands up and down in
this movement.

Dancing is always more fun if you can
do it with a partner or in a group. Per-
haps you have a sister or a girl friend who
will do the dance exercises with you, if
you cannot join a group of dancers for folk
dancing.

Some simple dance movements that are
beneficial for reduction of too, too solid
flesh are these :

Face your partner ; arms outstretched at
sides, clasp hands ; on count One, take step
to right, (partner to left), as you bend
down to that side, hands still clasped ; on
count Two, rise to first position ; on count
Three, raise hands high still clasped, and
bend back toward left, (partner to right) ;
on count Four to position again; repeat
this time in opposite direction.

Now turn your back to your partner and
clasp hands in same manner again, this time
repeating movement with both facing same
way. You can combine this movement with
a swift fox-trot of eight counts between.
Remember to bend down as low as possible
on count One, and to bend the neck back
gracefully on count Three.

The Russian dance movement is excel-
lent for keeping knees flexible. With arms
folded, squat down, resting on the left heel,
right foot extended ; then rise on toes and
reverse the movement, using right and left
leg alternately. See how rapidly you can
do this.

If your occupation is one that develops
one part of your body at the expense of
another, you should take corrective exer-
cise to overcome this. Some factory work-
ers repeat the same motion again and again,
hours at a time. Some school girls carry
their books always on the same arm. Some
women do all their housework with their
right hands or arms, never changing the
broom or duster from hand to hand.

If you must for some reason use one side
of your body at your work, remember to
make the same movements with the other
side of the body at exercise periods, also
to limber up all muscles with a good all-
round exercise every day.

Here is a good exercise for bringing the
blood into circulation after hours spent at a
desk :

Sit sidewise on a chair that has no arms,
holding to the back with one hand and to
the chair seat with the other. Lower the
body backward until your head almost

"Your story interests me," Jim
Cagney seems to be saying as Phil
Regan gets confidential.

IT'S LOVE'S BEST FRIEND . .

Not all lipsticks are a friend to romance.

Some put on color, but may dry and
parch that tender skin, the most sensitive
skin of your face.

And men just don't like to kiss lips rough
as crepe paper! Lips that invite romance
must be soft and sweet and smooth.

Indelible — but no parching!

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Now science finds that this corrective food
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Tests reveal that from dry yeast the sys-
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The digestive juices can more easily break
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reaches the floor. Keep the position for a
moment, then sit up again.

The scalp and hair will benefit from this
exercise, too. Sending the blood coursing
through your veins will give you a mental
uplift as well as improve your beauty.

Because I receive so> many letters asking
about correct measurements, I have made
up a chart of so-called "perfect measure-
ments" for girls of three different heights.
The girls, of course, varied in weight of
bones which accounts for the variation in
some measurements.

Compare yourself with the chart but do
not feel that you must agree with each
measurement exactly. You must make
allowance for the size of your framework.

CHART

Ideal Weight and Measurements for
Perfect Figures.

A group of artists and sculptors worked
out the ideal measurements for models used
by them, as follows: (Weight not given
because it varies with age).

Height: 5' 6"

Neck 12^2 inches.

Bust 34

Waist 26

Hips 34 .

Thigh 20

Knee 14

Calf 13

Ankle 8 "

Upper arm ...10

Wrist 6

These are the "perfect measurements" of
a beauty contest winner selected as "Miss
America." She was 18 years old and
weighed 118 lbs.

Height: 5' 4"

Neck 12 inches.

Bust 33

Waist 2Ay2

Hips .33

Thigh \9y2

Knee Uy2

Calf ny2

Ankle 7

Upper arm 9

Wrist 6

Below are the "ideal measurements" of
a "composite" of several Hollywood stars
who are 5' 2" in height, average weight 105
lbs. Their ages vary from 21 to 27, which
accounts for difference in hip and waist
measurements as compared with above taller
but younger girl.

Height: 5' 2"

Neck 13^2 inches.

Bust 34

Waist 26

Hips 36

Thigh 19

Calf ...13

Knee 13^

Ankle 7y2

Upper arm 8y2

Wrist sy2 "

JAMES DAVIES' ANSWERS TO QUESTIONS

James Davies is at your service ! Con-
sult him for advice on how to reduce
or gain weight, by means of healthful
exercise and diet — the methods used by
screen stars he has helped to keep fit and
lovely. Mr. Davies can't undertake to
answer letters by mail, but representative
questions will be answered in the col-
umns of Screenland. Address your
questions to : James Davies, Screenland
Magazine, 45 West 45th St., New
York, N. Y.

Maxine R., Missoula, Mont.: Arm-fling-
ing exercises are excellent for developing
the bust. With arms outstretched at sides,
swing them in circles, ever widening; then
throw them back, taking deep breaths as

you do so. Deep breathing is important.

Harold M., East Orange, N. J.: To re-
duce hips and seat : Tie a rope to some-
thing steady, the doorknob or banisters.
Lie on floor with head toward rope, stretch
the arms back and grasp rope with both
hands, high enough so you can lift your
shoulders from the floor with its aid.
Raise shoulders and feet from floor and
roll on hips, keeping steady with the aid
of the rope; roll three to left and three
to right.

Mrs. S. M., Nezv Bedford, Mass.: Your
weight is far too much for your height.
See your doctor about this, as it may_ be
glandular and he can give you medical
advice. If you cannot "put your mind" to
keeping on a diet, as you say, can you put

for October 193}

it on a regular course of exercise? Only
by regularity can you reduce by exercise.

Ruth B., Los Angeles, California: For
weak ankles, every morning before you
put your shoes and stockings on, rise on
tiptoe and walk around room. Also get
a book and place toes on it, heels on the
floor, then teeter up and down on this for
ten minutes. Walk upstairs on toes.

For general reduction, go in for swim-
ming, tennis, hiking, or daily dozen. Try
the rope exercise above.

Miss H., Port Arthur, Texas: Your
measurements are not bad. Try the bust
development exercise given above. For
large ankles : stand with heels together,
toes pointing out ; rise on balls of feet,
bend knees slightly and raise arms ; take
a short hop forward, landing on toes with
knees deeply flexed, swinging arms out as
you do. Spring up and repeat, going en-
tirely around room before stopping.

Miss R. P., Philadelphia, Pennsylvania:
To develop shapely legs, tense leg muscles
as you do leg exercises. Stand erect, raise
left leg to side slowly, as though it were
hard to lift ; swing leg backward, then to
front. Repeat with other leg.

K. P., San Jose, Calif.: The exercise
with book given above is especially good
for building up calves of legs, if done with
tensed muscles. Do it to music.

Miss V. K.. Schenectady, N. Y .: At 17,
you can expect to be larger than you were
at 16. You are still growing. Don't worry
about it. Go in for dancing, swimming,
and active sports. Try the rope exercise
above, and the general reduction exercises
in this issue.

L. M., Providence, R. I.: Your weight
is so slight, I think you had best consult
your doctor. You say you have tried every-
thing under the sun; have you tried eating
every few hours, nourishing food in small
quantities? Drinking milk or cocoa at
bedtime, resting a great deal, and sleeping
outdoors ?

Carbo Really Talks

Continued from page 16

maybe dreaming a little. There I thought
of her fine tenacious spirit, clinging so
courageously to her ideals and pursuing
them to the peak instead of resting vain-
gloriously on the laurels she has already
won. She is a truly great artist who de-
liberately sacrifices much more than the
world realizes in order to fulfill what she
deems her duty to her art. If she elects
to live with seeming unconventionality and
to shut out the distractions, who shall criti-
cize her? Surely genius must be its own
dictator since it alone can understand its
needs !

Hettie Grimstead, English novelist and
friend of many European screen and stage
stars writes to us :

"I know the readers of Screenland will
like to meet Greta Garbo as I have just
met her in Stockholm, Garbo the Gracious
as well as the Glamorous."

v % v

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Mr. Temperament"

Continued from page 29

ably the way he masks his self-conscious-
ness— as severe at times, though better
disguised, than that of playwright Eugene
O'Neill. The latter, they say, never went
to parties because he couldn't accept an
introduction without breaking out in a
bath of perspiration, and stammering so
hopelessly that it was painful to watch.

Claude Rains never goes to parties
either. To Hollywood, despite his three
excellent, if slightly over-dramatic per-
formances, in "Crime Without Passion,"
"The Man Who Reclaimed His Head,"
and "The Mystery of Edwin Drood," he
still remains "the invisible man."

He was born in London, November 10,
1889. This frank announcement of his age
in the standard studio biography is Claude's
admission that he does not intend, like
most of our male screen stars, to become
permanently rooted in the thirties.

No one could call Claude Rains even
ordinarily good-looking. He is, thank
Providence, one more proof that the com-
mercial value of purely physical beauty is
on the wane in Hollywood these days.
His face is almost as extraordinary as his
behavior. The eyes are agonized ; at times
they have a look of madness in their fixed
intensity. The mouth is slightly distorted.
Black, straight hair grows in an uneven
thatch which swoops down over disheveled
brows. And though that famously eloquent
mouth closes over a set of uneven teeth
which could never be used as a toothpaste
advertisement, it encloses a voice with as
much power to enthrall as Clark Gable's
dimples or Gary Cooper's gaunt and melan-
choly beauty.

The same standard biography goes on to
mention that he was "raised and educated
in the British capital, and made his first
stage appearance at the Haymarket Theatre
as a small child of eleven years in 'Sweet
Nell of Old Drury'. . . ." No mention of
parents or schooling. No mention of athletic
honors at college.

His childhood was one of poverty, priva-
tion, and fierce discipline. He drove himself
then and he drives himself now. And he
makes the same superhuman demands of
others that he does of himself.

Until the war, there was no life for
Claude Rains outside his dogged ambition,

and two-a-day performances in provincial
stock companies — first in dingy English in-
dustrial towns, later in Australia. The war
called him back to England, and with his
characteristic singleness of purpose, he
threw himself into soldiering with such fer-
vor and tenacity that the war office promoted
him, stage by stage, from private to the
rank of Captain, and decorated him with
honors which, if you ask him about them,
bring forth that weird whinney which passes
for laughter.

Post-war days for Claude were marked
by nothing but sock-and-buskin. Soon after
his first appearance in America in "The
Constant Nymph," he joined the Theatre
Guild and stayed with them as -one of their
three most brilliant performers — (Alfred
Lunt and Lynn Fontanne being the other
two) — until that "come-hither" from Hol-
lywood where he first appeared in "The
Invisible Man."

From that day on, he has been conscien-
tiously cast in roles that call for at least
one murder, an occasional suicide, and the
right to look agonized, which he does per-
haps better than any other actor on the
contemporary screen.

All of which dovetails nicely with his
friends' theory that Rains is an Englishman
only by accident of birth and heredity, and
a Russian by temperament !

When I asked one of them how Claude
spent his time when he wasn't creating one
of those Rain-ish, electro-magnetic roles,
he replied : "He sits home among his pew-
ter mugs and Jacobean four-posters, and
broods."

Several years ago, Claude bought him-
self an old Dutch clapboard house at the
nether end of New Jersey. That house and
the farm on which it stood expressed a life-
long dream. In it he stored his selection
of antiquarian delights that cost a fortune,
(nearly his entire one), and years of rum-
maging in dusty back rooms of crabbed
dealers and in cupboards of English yeomen.
Claude Rains lived there alone during the
latter half of his engagement with the The-
ater Guild, cheerfully commuting two hours
to and from the theatre, and in his spare
time pitching hay, or brooding. Then came
the catastrophe.

"This is the way he broke the news to

Wide World.

The Gables enjoyed themselves, judging by the smiles Clark and Rhea
exchange as they leave for home after dining and dancing at a night club.

for October j;

me," his friend related, "and it's typical of
the kind of thing one comes to expect from
Claude.

"At three o'clock one morning I was
awakened by a long-distance call from New
York. In a fog I took up the receiver. A
booming voice at the other end thundered,
'Hello, James, this is Claude.' I said, 'Yes,
Claude.' Booming voice at the other end,
'Did I tell you, James, that I intended rais-
ing chickens on' my farm?' 'Yes, Claude,'
this time more faintly, with a slight note of
exasperation — (after all, it was three A.
M.). Explosion at the other end — 'Well,
I can't!' 'That's too bad, Claude,' I whis-
pered, asleep on my feet. Second explo-
sion. 'Well, why don't you ask me why ?'
the voice blared irritably. 'Why, Claude?'
I murmured, feebly — by this time the re-
ceiver had fallen out of my hand."

" 'Because there aren't any roosters left,
and the hens are dead, too ! Well, what I
mean is — the farm was struck by lightning
last night when I was in town and it's dis-
appeared. Demolished. Gone up in smoke.
All of it. Not even a tree or a candlestick
left standing!"

"That's the way Claude springs things.
Unexpected, like a natural cataclysm!"

But despite his fitful, Slavic moods, the
English in Claude will out when occasion
demands. In a crisis, he's as dependable
as the Bank of England. I happened to
witness an example of this "cricket side" to
Claude's nature.

About a week before Christmas there was
still some shooting to be done on the final
sequences of "The Mystery of Edwin
Drood." One member of the cast, Frank
Sullivan, an Englishman, had been counting
for weeks on eating his plum-pudding in
merrie old England. To reach his home
on Christmas day he had to leave Holly-
wood by plane on a certain morning. Bur
the day before there was still another out-
door scene to shoot, and to finish it meant
working until dawn. It also meant an all-
night session for Claude, the only other
person in the scene. More than that, it
called for a bit of difficult gymnastics from
him — a jump from an eight-foot elevation.

The night was desperately cold, and this
outdoor scene had never been rehearsed
after dark. Miscalculating the distance
because of the dim lights, Claude landed
with his leg twisted up under him. Aside
from a snort and a groan, what seemed
to be a slight difficulty in rising, and a
more than usual twist to his mouth, nobody
noticed anything unusual about Claude.

The leap occurred at midnight, but the
camera kept on grinding for three hours
after, so that Mr. Sullivan could catch his
plane early next morning. He did.

Later that same morning, Claude's doctor
sent a message to the studio that Mr. Rains
would be detained in bed for a week or
more with a badly twisted ankle, caused,
the previous night, by a fall which was giv-
ing Mr. Rains considerable pain. The
doctor asked rather bluntly why Mr. Rains
hadn't peen permitted to go home after the
accident occurred. Whereupon the entire
staff fainted dead away, after proclaiming
Claude a hero — and thereby adding another
notch to Claude's self-consciousness.

But\Mr. Rains, being tough as a batter-
ing ram, and having the resilience of a
punching bag, refused to listen to the doctor,
and hobbled to the studio on crutches. Ar-
rived, he discarded these encumbrances, fin-
ished the picture, and departed for the
East. There he completed negotiations for
another farmhouse, (this time of stone and
in Pennsylvania), and then set sail for Eng-
land— where he made a picture, and motored
eighty miles an hour through Buckingham-
shire, Devonshire, Dorset, Essex, Wessex
and Sussex, in search, no doubt, of a Crom-
wellian egg-cup, or an Elizabethan feather-
duster to hang by the lovers' nook at his
fireside.

My dentist said:

"It's a fine health habit

Hiveryone should chew Dentyne," my dentist
said. He explained that it gives the mouth ex-
ercise which it fails to get from our modern
soft-food diets. It strengthens the muscles and
helps improve the mouth structure. It helps
the normal self-cleansing action of the mouth
. . . and improves the condition of the teeth.
You'll notice Dentyne's firm consistency that
is so important in giving you these benefits.

SCREENLAND

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You might be bathing in rose, petals, so soft and fra-
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Gone is all harshness from the water. Bathasweet
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. . . Yet Bathasweet costs very little — 50c and

f$l at drug and department stores.
— a gift package sent free anywhere in the
■ U. S. Mail this coupon with name and

address to Bathasweet Corp., Dept. S-J, 1907
Park Ave., Ne<u> York.

f^MCE-YOUTlC

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(Est. in 1872)
111 Davis Street
San Francisco

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emi-ni

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Stars shine
October beauty!

To dye or not to dye! Nestle
Shampoo Tint has the answer.

Smooth "Air - Spun"
powder is Coty's lat-
est gift to beauty.

LOOK out for "Air-
J Spun" powder ! It's
on its way and we warn
you it'll get you, once
you've tried it. Coty has
just brought out this face
powder that's entirely new,
made by a process that
never even existed before.
Instead of being sifted,
"Air-Spun" powder is
swirled at terrific speed
through clear, pure air.
The particles crush them-
selves against each other
and are buffed to pearl-
like smoothness and vel-
vety softness. The
smoother a powder is, the
longer it clings. We can
testify to the smoothness
of "Air-Spun" because
we've seen it under a
microscope. It comes in
a new and much larger
gold-and-white "powder-
puff" box with a perma-
nent cellophane top and a
bakelite base to keep the
moisture out and the frag-
rance in.

PERHAPS you abhor
the thought of having
your hair dyed, but you
want to do the right thing
about its color neverthe-
less. Nestle's new Sham-
poo Tint is for such as
you. It literally shampoos
youth and color perma-
nently into your hair, leav-
ing it silky and lustrous
without that obviously
dyed look that makes men
leave home. Shampoo Tint
covers gray hairs one hun-
dred per cent. And it's of a heavy consist-
ency that makes it easy for any beauty
operator to apply without danger of streak-
ing or turning you out with hair a color
you never dreamed of having.

THERE'S a lot of radiant beauty under
your skin just awaiting its chance to
come to the top. And Eunice Skelly's Brown
Magic Mask is the thing to bring that
hidden beauty out. You smooth it on — and
up comes a warm glow of healthy circu-

Joie de Vivre, Ybry's enchant-
ing perfume, draws romance
your way.

Newest of the new — slim vanity
by Houbigant for extra chic.

lation. Expect it to smart
— it wouldn't be doing its
job if it didn't. About
ten minutes is the time you
should leave it on when
you first start using it.
Then wipe it off quickly
and smooth on a good big
gob of nourishing cream.
Lots of women swear by
Eunice Skelly's chin strap
for tightening up those
under-chin sags, too.

YBRY presents a de-
lightful new perfume
— Joie de Vivre, or "Joy
of Living" in just plain
English. It's wonderfully
fresh and delicate, yet
with enough of mystery in
it to make people ask :
"What is that perfume
you're wearing ?" The fra-
grance is pure floral — an
overtone of carnation with
a soft blending of rose
and jasmine. All Ybry
perfumes are blended and
aged like rare old wine
before you're allowed even
a sniff. We've tried Joie
de Vivre on the nostrils
of numerous men and the
unanimous verdict was
"Swell !" Bottled in crys-
tal of a modern design
and encased in a handsome
deep blue and silver box.

HOUBIGANT has the
trickiest new double
vanity we've seen. It's a
loose powder compact with
dry rouge. An envelope
of "Dull Finish" face pow-
der comes with each one.
The fragrance is that uni-
versal favorite, Quelques
Fleurs. As for the case,
it's dull patrician gold,
smartly tooled, and oh, so
gracefully slim. Naturelle
powder comes with carna-
tion rouge for blondes, and
rachel powder with rouge
for brunettes. Looks ex-
pensive, but isn't.

A GRAND new aid to
hair beauty comes to
us from out Hollywood
way. It's called Star-
Sheen Olive Oil Shampoo,
and it's soapless. You
simply moisten your hair
with warm water. Start
at the base of the scalp
and apply the shampoo
with your fingertips. Work
it toward the top, thor-
oughly soaking the hair from the roots to
the ends. Then give your scalp a vigorous
massage. Dirt and dandruff flakes dissolve
right out. After a good rinsing in warm
water, your hair emerges soft and lustrous.
Star-Sheen has a liquid temporary tint, too,
that's making a name for itself !

ENTER Odorono's new deodorant pow-
der! There's a box with a soft puff
for after-the-bath and a shaker tin for
traveling. Freshly fragrant and so soothing.

Vkut

for October 1935

Merrily, She Rolls
Along

Continued from page 21

sound stocks and bonds and not in jewels and
fur coats. She doesn't own a big rambling
estate, with tnousands upon thousands suiik
into it, and she doesn't want to own a
big rambling estate. She doesn't want to
be a chatelaine or a woman of property.
She could be .either at a moment's notice.
She thinks it sheer folly to sink so much
money into a Hollywood Versailles when
something simple is far more chic and
comfortable. Twenty years from now Miss
Lombard will still be quite happy and
carefree while her confreres who went into
real estate in a big way will be wondering
where the next mortgage is coming from.

Carole is accepted as Hollywood's best
hostess and best-dressed star. Believe it
or not, "Hollywood's best-dressed star"
probably spends much less on her clothes
in a year than you do, and certainly much,
much less than the other stars in Holly-
wood. She does not go on a buying spree
when she goes to New York and fill her
closets up with dozens of this and dozens
of that and dozens of things she'd never
wear in a million years. She buys care-
fully and well. She has a decided flair
for chic and she knows what and when to
buy. Her wardrobe consists mostly of
very smart sports pajamas, a few tailored
suits, and several very lovely evening
gowns. No jewelry salesman has ever
been able to make a sucker out of Carole.
Nor has any automobile salesman. That
glamorous movie star has onlv one car, a
very inexpensive coupe, which she drives
herself, and the day I had the interview
luncheon with her she didn't even have
that car. It seems that the night before,
her cook was having a birthday party and
her maid, Ellen, wanted to go to the party,
so Carole said, "Take my car, Ellen." and
Ellen did and proceeded to run it right
smack into a fire hvdrant. It has been
a long time since I have seen a movie star
with nothing better than a cracked-up
Ford.

Well, what the heck does she do with

Carole Lombard with Elinor Ten-
nent, her tennis instructor, left, and
Alice Marble, a court star.

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SCREENLAND

AWpl IS LIKE A
" iN YOUR TOE

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The tiny soft Blue-Jay pad lifts your shoe away
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Don't confuse Blue-Jay with unscientific corn
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NO DIET • NO MEDICINES
•NO EXERCISES *

AN AMAZING Invention called Roll-

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Proving that a star and her leading man can be the best of friends! Shirley
Temple and John Boles, snapped between scenes on the set.

her money, you ask ? Surely she doesn't
put it all in stocks and bonds ? Heavens,
no, a thousand times no. Remember that
Carole is essentially quite mad. Where
she got this sane Victorian viewpoint on"
money and business affairs we don't know
— we're having a Senate investigation. But
just to prove that she really is goofy she
has this terrific gift phobia. She adores
giving presents. I honestly have never
seen any one get such a grand kick out
of giving presents as Carole does. And
there's plenty of that "personal touch" so
lacking in Hollywood, for each and every-
thing is monogrammed just so, and there
can be no mistaking but that it was bought
especially for you. Her Christmas list
looks like the Los Angeles telephone di-
rectory. No one is too small at the studio
to be overlooked. Believe it or not, Carole
Lombard spends more than three times as
much on presents every year as she does
on herself ! Her family and friends have
lectured her about this outrageous extrava-
gance, but Carole insists that it's her
greatest pleasure, and that's that.

As you've probably read in the gossip
columns, Carole and Bob Riskin are going
places together these days and nights. Bob
is a very talented writer in Mr. Harry
"Columbia" Cohn's little workshop and
screen-authored that all-round prize win-
ner, "It Happened One Night." Bob is
very good for Li'l Missy Carole. He has
much dignity and reserve and keeps her
from going off at loose ends — well, occa-
sionally. Carole first met Bob Riskin at

Columbia when she made her first picture
there about three years ago. Bob wrote
the dialogue and the picture was called
"Virtue." But Bob had something else on
his mind in those days, and so had Carole,
so they really didn't have a date together
until one night less than a year ago they
found themselves sitting side by side at
the Zeppo Marxes. After dinner Bob took
Carole to the fights, and then he brought
her home and they sat and talked for five
hours straight.

One of Carole's best friends is Walter
Lang — yes, "Uncle Walter," the popular
young director from Memphis. Quite
innocently, well, at least with the inno-
cence of a healthy cobra, I once took a
swell anecdote about Walter, the smart
crack and everything, and gave it to Carole
in a story I was doing on her. When
Walter read it he pretended to be furious,
and he cut it out and sent it to Carole
with "What would you do without me?"
written across it. He never misses a
chance to kid me about it. Whenever he
sees me he always says, "Get your pencil
ready. I am about to say something
awfully cute for you to give Lombard."
Well, I'm no fool. I now have him say-
ing things for Colbert and Harlow too !

Well, folks, I give you the Carole Lom-
bard of today. Divinely insane, and yet
quite sane. Happy, ambitious, generous
and alive. In fact the most vital person
in our mad, mad town.

(Next Month: The Lombard of yester-
day— and the day before.)

Inside the Stars' Homes

Continued from page 10

and 6 dried mushrooms that been soaked
in warm water and chopped. Cook and
toss over a hot fire until heated through and
serve on a hot platter.

"Personally, I like Welsh Rarebit for
these suppers, but people say : 'You
shouldn't serve that so late at night — I'll
never sleep a wink !' Which is all nonsense.
I sleep like the dead after eating rarebit;
it knocks me right out and I love it!

"There's a Welsh Rarebit Souffle that
used to be served by a friend of mine —
you might like to give it to Screenland
readers."

Welsh Rarebit Souffle
Melt a teaspoon of butter in the top of
a double boiler, add 1 cup cream, tea-
spoon mustard, seasoning salt and paprika,
and 1 cup fresh bread crumbs. Bring to a
boil, stir in 1 cup finely chopped rich
American cheese and stir until smooth. Add
beaten yolks of 2 eggs, stir one minute,
remove from the fire and add the stiffly
beaten whites of 2 eggs. Pour over slices
of toast on hot plates and serve.

"Chicken a la King is always a good
bet — you can serve it in patty shells if you
like. When I was in Paris, we used to go

for October 1935

to the Coque d'Or after the theatre for
their famous pressed duck. It's terribly
rich and gives you a tummy-ache, but oh,
it's good ! They slice all the meat from
the duck, put the bones through a press,
squeezing all the juice and marrow from
them. Then they take this juice and make
a sauce with white wine to pour over the
duck. The stuffing is made from various
nuts, chestnuts and others, made into a sort
of paste.

"Of course you wouldn't dream of serv-
ing cream of pea soup for supper, but I
must tell you about it ! Screenland read-
ers might like to serve it for dinner or
luncheon. Joseph, one of the five leading
maitre d' hot els in Paris, told me how to
make it. Puree the split peas. When you
are ready to mix the cream with them,
add also the white of an egg — more than
one egg if you are making a large amount.
It must all be done very quickly. Sprinkle
a little cinnamon in for flavor.

"With your women guests you must be
careful not to serve fattening dishes — that
is you must have something they can eat
without putting on pounds.

"The salad we have tonight is safe."

Vegetable Salad

Use fresh vegetables — peas, string beans,
sliced carrots, asparagus tips, (white or
green), kidney beans, (drained). Have
the vegetables cold. Line your mold with
a pattern of sliced pimentos, stuffed olives
and sliced cucumbers with the peeling on
for firmness.

To 1 quart consomme add \l/2 ounces
of clear gelatine. When the gelatine mix-
ture is cool pour it over the vegetables in
your mold and keep it in the frigidaire
until ready to use.

Lemon jello may be used if preferred
but be careful to add only y2 the amount
of water the package states.

"Oh, let's put this in, too ! It's really
an hors d'oeuvre, but I serve it for supper,
too. Take ground round steak — raw, not
cooked, and scrape it with a spoon. Add
little onions, chives, pickles — both sweet
and dill — Worcestershire sauce, yolk of an
egg, anchovy paste, paprika and stir it all
up. It comes out almost black and it sounds
awful, but it's the best thing you ever ate!
I _ always serve it with buttered pumper-
nickel cut in tiny slices.

"Another hors d'oeuvre to serve at night,
which isn't fattening, is simply slices of
dried beef wrapped around cottage cheese.

"There's one I've had in Russian res-

Our charming hostess this month,
Jeanette MacDonald serves tea
in the living room of her home.

Why do minds misbehave?

THE PSYCHIATRIST OFFERS TWO ANSWERS . . .

Case No. 432

Frequently e honing

husband by ^h£raWing
guests and w!tnher

invitations. Oil by
husband s empyand

her ^tlon with secret
°frries during a dinner
worries honor.

eiven,nSs "Accident
DIAGNOSIS. t4ccfear t

,,^^at
^sanitary napkin_

fordW°coefflpl te^afety

S PrteClet°e - when
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We crossed the hall and went down two
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and apparently all Hollywood had remem-
bered it. Pale rose, lemon yellow, deep
purple, they bloomed against the robins'
egg blue of the walls.

Twin love-seats in pale green face each
other across the hearth of the open fire-
place, and a mulberry colored rug adds a
rich note. Bob Ritchie's picture smiles
from the grand piano.

Jeanette, behind the coffee urn, her bright
hair glinting, remembered some more
delicacies.

"You know those very tiny hot biscuits
that are so-o-o good with chicken-king?"
she said. "Someone served them the other
night made with tomato juice instead of
milk. She used a little cheese, too, and
they were heavenly !

"And let me give you my very favorite
hors d'oeuvre! Take a slice of Virginia
ham, put a slice of toast on it, then a slice
of tomato. Bake them together and pour
creamed mushrooms on top. No, I don't
mean put the toast first — it goes on top
of the ham!"

Presently we went down to the play-
room, a big room with knotty pine walls,
billiard table, card tables, comfortable
couches and chairs.

"This is where we play when I bring
in a crowd after the theatre," she explained.
"The men like to play billiards, but the
women usually play cards. But isn't it
fun now that people are going in for games
instead of making a serious evening of
bridge ?

"I learned the craziest game of cards at
Gloria Swanson's and now I try it on all
my friends. It's called 'Thank you, neigh-
bor' and any number can play, which makes
it nice because there's so often an uneven
number of guests dropping in after a show.
Any number from three to twelve can play
by using more cards.

"You take out all the aces, kings, sevens,
threes and twos and deal the remaining
cards. Everyone puts his cards face up
and the dealer rolls the dice. If the dice
shows the number of any card in his hand,
he can throw that card in the center, the
object being to get rid of cards. If he rolls
a 7, a 3, or a 2, he has to put up a penny
ante. When he rolls a number that doesn't
match anything in his hand, and isn't a 7,
3, or 2, anyone holding that number is
supposed to say: 'Thank you, neighbor!'
and take the dice. The joke of it is, you
get so excited no one ever remembers to
say it — they usually shriek: 'MINE!' or
'ME' or 'GIMME' and snatch.

"All you really need for this game is a
pair of good lungs, not card sense or any-
thing. And it isn't like shooting craps —
lots of people don't approve of that — my
mother, for one.

"Nelson Eddy introduced a new game at
my last party. The idea is that you can't
answer six questions dishonestly. It goes
like this : He pointed to my white lamp
and asked: 'That's a green lamp, isn't it?'
Firmly and untruthfully I said yes, it was.
He asked two more similar things, then
suddenly looked at his watch and my clock
and cried : 'For heavn's sake, that clock's
not right — twenty minutes past one — is it ?'
And I 'bit,' of course !

"Last time I took my guests to a bowling
alley instead of to the theatre, and we had
a marvelous time. We came back here for
supper afterward and it was hardly any
time before they went home, completely ex-
hausted. I fell into bed and slept like a
top. Next morning they all called up and
bawled me out because they were so stiff
and sore from bowling, but just the same
they all wanted to go again!"

Jerome Kern, famous composer, plays some of the music he has written
for "Love Song," Lily Pons' first film, for a highly appreciative audience
of two, Mary Karmen and Pokey Champion, young screen actresses.

for October 1935

Dick Today

Continued from page 28

you put on a bathing suit and hie yourself
over to the pool. She lives in it. She
can even give an interview for Dick in
the pool — and she isn't all wet, either.
She can do fancy dives and swim along
the bottom, coming up every time without
having lost the thread of the conversation.
Talented, that girl.

Naturally, when you conduct even an
indirect interview in the Arlen tank, you
encounter a few unique obstacles such as
Bing Crosby, Dixie Lee Crosby, Helen
Twelvetrees and Sue Carol having a water
fight, while Rickey — otherwise Richard
Arlen, Jr. — promenades up and down your
spine, squealing with glee.

"What about Dick making a come-back
in 'Let 'Em Have It ?' " I shrieked, un-
tangling a Crosby.

Joby made a sound like a female walrus
protecting her young.

"Better not let him hear you say that !"'
she warned. "How can you make a come-
back if you haven't been away?" That
seemed logical enough. We climbed out
of the water and dripped over to the bar
alongside for a man's-sized coco cola.

"Well, have it your way," I complained
bitterly. "I'm supposed to write a come-
back yarn about Dick. If that's out,
what'll I say?"

"Ho! Ha ha!" snorted the girl friend.
"You know enough about that guy to fill
a book. Why don't you just tell the
truth?"

Strangely enough, that did seem like a
good angle. New and novel. So brace
yourselves, pals. (You, too, Dickie boy.)
Let 'er go. We will now give the phe-
nomenon known in the bosom of the fam-
ily as "Ahlen" a good going-over.

He would never save a dime, if it were
not for Joby. She handles the purse-
strings, and a very good thing, too. More
funny people can talk him into financing
more funny things — racing cars and air-,
plane flights and movie careers and the
real estate business — until it reaches the
moment where the little woman has to
sign something. Then, boy, just try and
get it : that simple little signature, so easy
to write, 'Jobyna Ralston Arlen.' But she
gets writer's cramp at the handiest times.
Handy for the bank balance. That's why
it balances.

It's a good thing they have only one
guest-room in that big rambling house.
Well, there are really two, but the other
is Joby's "mad" room, where she goes to
count ten or something. Oh, yes, Dick
can use it, too. The remaining room is
permanently occupied by some lad who is
having a temporary streak of bad luck.
One of them stayed six months.

From four to ten and up, sit down to
dinner at the Arlens' — but Joby will re-
mark to you, in perfect seriousness, "You
know, we really ought to entertain. We
never give parties." And she looks at you
with blank astonishment when you scream
at that one.

Dick has the most marvellous audience-
sense of any actor in town. It's as if he
prefaced his remarks, to himself, with a
little soliloquy like this : "I've got to make
this a good story because they expect it
of me. Why let 'em down ?"

So he never arrives from an airplane
trip and sets you yawning with the simple
statement that it was hot coming over
Kansas. Everybody knows that anyway.
No, sir, his sense of obligation to his lis-
teners leads him to give it plenty of dra-
matics. The women fainted, the two little
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the pilot was prostrated, but game. If he
hadn't taken up acting, Dick would have
been a knock-out dramatist.

There is a lot of the good solid Amer-
ican go-getter about Dick. He wants
everything anybody else has, and by golly,
he doesn't stop with wanting. He gets it.
A swimming pool, a yacht, a Dusenberg.
Now he wants a ranch. He'll get that,
too. But if you so much as implied that
he wants a ranch because Bing Crosby
has one, he would be highly indignant.
Joby says that's the reason, and it must
be, because he was positively not ordained
by nature to be a rancher.

He can't bear to be alone a minute. His
is the genuinely convivial disposition which
has to share everything to enjoy it. Does
he go away on long solitary cruises on
his boat? He does not. He has it jammed
to the gunwales with company, and if you
don't have a good time it's your own fault.
Everything is right there for it.

He boils with enthusiasm under the sur-
face, which he has an idea he is con-
cealing with a calm conversational manner.
Whether it is a new picture, a golf tourna-
ment or teaching Rickey to swim, he tosses
himself into it with the abandon of a
youngster.

This business about the sure steady
Richard Arlen who knows what it is all
about, lives a serenely uneventful life, and
has everything all mapped out on schedule,
always gives me a fine laugh. Why, the
guy's as temperamental as a prima donna.
He's a lot more interesting than the dull
Horatio Alger-boy he has been painted.

He has enough imagination for six men
and I daresay he would be off on some
crazy adventure tomorrow if the little
woman didn't make life at home pretty
exciting. She plays a better game of golf
than most women twice her size — or bridge
or badminton. She is ready to take a
plane with him for Caliente any midnight,
or go hunting in the mountains, or to cook
up a mess of eggs. She also raises a nice
child. I suspect she'll have Dick around
for some time to come.

She still likes him, after all these years,
which is certainly a lot in any husband's
favor. Liking and loving are so different.
She loves him — admitted it right out — but
lots of women love their husbands who do

not_ especially like them, as you may have
noticed here and there.

It's a happy home, the Arlen place. A
nice aura of contentment hovers over, al-
most visibly. Rose, the prettiest little col-
ored girl I ever saw, takes care of the
domestic department and has never been
seen without a smile. Sam, her husband,
handles the chauffing and garden business,
always looking as if he had just won some-
thing. Julie, Rickey's nurse, gets a lot of
fun out of her job — as what nurse wouldn't
with that handsome and healthy baby to
enjoy. It all seems to run on wheels, and
there are no complaints, which makes
everybody glad to be around.

Any fine afternoon finds Rickey enter-
taining the Crosby youngsters, Virginia
Bruce's little girl, Jackie Woody, Helen
Twelvetree's son, young Al Werker and
Sue Carol's daughter. A fence has been
built around the pool to restrain adven-
turous little feet and a very nice time is
had by all, including papa Arlen.

Rickey, who is two years old, wears a
size five play-suit and talks a blue streak,
takes command of the situation. He plays
host until somebody gets too familiar with
his favorite toy, and then he socks them
on the button. After all, there are limits
to the host-consciousness of a two-year-
old. Father Dick sprints over, carefully
points out to him the error of his ways,
and returns to the grown-up group, grin-
ning, I am forced to admit, from ear to
ear.

To return for a finishing touch to that
"come-back" line — which will undoubtedly
put Dick in a state fit to be tied — he left
Paramount after ten years because he did
not like the stories they were giving him.
He walked out on two thousand dollars a
week, for a principle. He has chosen the
parts he has played since, and he hasn't
lost a dime by his move !

The "Let 'Em Have It" picture did
seem rather in the nature of a return be-
cause it was the best part he has played
in a long time. It was really the old Dick,
back again.

And if he will insist on tooting about
the country showing them what an actor
can do to a golf ball, he'll just have to
take what happens in his absence. This
story included !

Radio Parade

Continued from page 62

dance halls," Frank said. "George and I
entered all of the contests held at the old
Danceland, and George, the so-and-so, used
to win all the prizes."

"Find any difference in George when
you met him in the Hollywood where he
rates all the eminence of a star?" we
wanted to know. "Not a bit," Parker re-
plied. "He hasn't changed in the least."

Parker left the Jack Benny show shortly
before it closed for the summer season,
when the offer to play in "Sweet Surren-
der" came to him in Hollywood from the
New York producers. He says he turned
down the picture offer that was made to
him two years ago, because "It would have
interfered with my radio work. I won't
quit radio, except for a vacation now and
then, but I want to do pictures if I can
get them on a basis that will permit me
to keep up my microphone work."

Parker has been in radio work for about
seven years, a very prominent singer
throughout that time, appearing on his own
programs and as guest artist on many spe-
cial broadcasts. He joined the Revelers
Quartette to replace James Melton, when

the latter left that famous group; and after
a short time Parker too dropped out in
order to avail himself of the many offers
for his solo services, just as Melton had.

James Melton, incidentally, is making
his first picture, but he had to go to Holly-
wood to make his bow before the cameras.
It's risky business at best predicting that
any actor or singer will score emphatically
on the screen — too many factors over
which the star has no control. However,
this department has a hunch that Melton
is going to register on the screen. He is
a fine figure of a handsome man, a chap as
big as Nelson Eddy, with a fine speaking
as well as singing voice, and a very en-
gaging amount of real masculine charm.

"G-Men" may have started a cycle in
pictures, but look what it's started on the
kilocycles ! The same feverish activity to
rush "G-Men" shows to the microphones
ahead of competitors has been going on in
radio as made the studios in Hollywood
bristle with excitement to be the first to
the screen with the melodramas glorifying

for October 1935

the government go-getters in the crime
world.

Elevation of Margaret Speaks to star-
dom on the program on which Gladys
Swarthout, Richard Crooks and Nelson
Eddy alternated last season writes a suc-
cess story not very . common in the com-
paratively young radio industry. Miss
Speaks, who carries a name distinguished
in music — she is the niece of Oley Speaks,
the composer of "Sylvia" and other works

Lupe Velez as the star of "The
Morals of Marcus," British film,
enactina a scene with Ian Hunter.

which rank as American classics — knew
precisely what she wanted to become when,
or even before, she was graduated from
Ohio State University. She'd be a singer.
Immediately upon graduation, therefore,
Miss Speaks went to New York and made
the rounds of the theatrical agencies until
she obtained an engagement in vaudeville,
then later musical comedy, after which
Miss Speaks appeared in joint recital with
her famous uncle. Just a year ago, Mar-
garet Speaks turned her thoughts to radio,
obtained a place in the mixed chorus on
the very program of which she is now the
star.

One of radio's most popular comedy
teams arrived on the air not through any
deliberate effort to produce a radio show,
but as the result of some friendly clown-
ing between Mario Chamlee, former opera
star, and George Frame Brown, an old
hand at radio comedy. Chamlee and Brown
have been pals for some time, and Cham-
lee, who has always harbored a desire to
be a comedian, gave vent to his pent-up
desires to create laughs by clowning with
Brown. An act they did on a more or less
impromptu basis at a Connecticut house
party so amused their fellow guests, that
the pair were induced to put on the act
at a radio audition — thus "Tony and Gus,"
five nights a week radio feature, came to
the networks. Chamlee who plays the
Italian character and has an Italian-sound-
ing name, is a native American whose
father was British and his mother Ba-
varian. His right name is Archer Chol-
mondeley, and he was born in Los Angeles.
Gatti-Casazza gave him the Mario Cham-
lee name when the tenor joined the Metro-
politan years ago. He was the first
member of the Metropolitan company to
sing on the air.

W9MAJV

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On the Trail of Traveling Stars

Continued from page 27

or scratching her nose, or standing pigeon-
toed like a gawk, and can get the resulting
picture published in the papers, he is happy
for weeks ! No one can ever know how
many hundreds of such brutal news photo-
graphs have been caught and killed by
watchful film companies before they saw
print. I have a private collection of such
camera monstrosities — not, I hurry to add,
for purposes of blackmail, but for the en-
joyment of my cruel, sadistic friends.

Naturally, the film companies watch
their arriving and departing stars like
hawks. One or more press agents are al-
ways on hand when the Century — or the
He de France — pokes into New York with
a star aboard, both to greet the actor and
to watch the tricky Fourth Estate. For
all this ceaseless vigilance, Things Happen.

Old-time reporters are fairly safe. They
are bored, or weary, or suffering from
acute hangovers, and accept the routine
handouts with a grunt. It is the starry-
eyed cub, all rosy with the glory of being
a real, sure-nuff newspaperman, who causes
deprecatory coughs and awkward pauses.

Such an eager lad, not long ago, cor-
nered the screen's greatest male dancing
star as the Century came to a stop in New
York. "Is it true," asked this sterling
youth, before he could be knocked uncon-
scious, "that your partner, Miss , is

not up to snuff, and that you would like
another?" You never saw such silence!
The porter could be heard grunting three
doors away ! The star met the debacle
like a gent and a scholar. "She's fine!"
he said. "She works mighty hard, and has
surely made good!" The world breathed
again.

The size and fuss of these frantic func-
tions vary. A great, all-wool star will
draw twenty cameramen, reporters and
things. A young newcomer, fighting her
way up, will get a company photographer
and one press representative. It is these
youngsters, on the other hand, who are
most eager. They will stand on their heads
and sing "Mother Machree" if asked —
while the old-timers merely stand and
snarl.

But — and here's a funny thing — they all
have an audience. Whoever the star, she
is sure of a crowd. As regularly as the
New York sun rises, twenty or thirty boys
and girls are waiting pop-eyed at the outer
gate when the Century pulls in at nine.
They gape and gawk, vivid with joy. Ah,
my friends — these are movie fans of the
stern old pioneer breed, who will go with-
out sleep or coffee on the off chance of
seeing their Dream Girl with her lipstick
on crooked and a cinder in her eye !

It's more fun to meet the stars who loom
by water. The actors like it better, too.
If the star be a man, he dons one of those
swell English suits he picked up in Bond
Street. The girls, bless 'em, always have
a scrumptious little something they found
in Paris. There's dignity, and a party air,
when a movie ship comes in !

The newspaper boys go down the Bay
on a revenue cutter to meet the ship at
Quarantine, and clamber aboard with the
immigration inspectors. Wise veterans—
a Swanson, a Dix, or a Crawford — know
the proper gestures. They greet the press
in their fancy cabins, pour glasses of wine
or mugs of beer, discuss their trips and
even crack jokes. Of course, if a star
has a divorce or a new sweetie to hide,
there may be a regular comedy chase.
Garbo, I needn't say, will be down in the
engine room disguised as an oiler.

On shipboard the camera boys get most

of their beloved leg-pictures — which are
called "cheese cake" in the secret lingo of
their strange trade. Full of the freedom
of the sea and things, few indeed of the
cinema sisters refuse to sit on the taffrail
or spanker-boom, showing their knee-caps
and waving at the dear old Statue of
Liberty, who always waves back. Even
when the maids are modest, there's usually
a helpful breeze !

And here's a hot tip that can't miss. If
you never see a leg-picture of a luscious
film star on shipboard, you can practically
bet your autographed photo of Baby LeRoy
that the lady has more to hide than a run
in her stocking.

But if these comings-in by land or sea
are either desperate or dismal, goings-out
at the Grand Central Station mix the
majesty of a cathedral service with the
dither of seeing Junior off for Camp Hoo-
cheekoochee. In fact, if you have never
seen the Twentieth Century Limited leave
New York, star or no star, you have
missed the most sublimely comical — and
comically sublime — ceremony in the mot-
tled life of your beloved country.

At thick plush carpet reaches from gate
to golden train — whose name is emblazoned
on the rear of the observation car in
bright electric lights. Pompous, pouting
trainmen, brass buttons gleaming, tiptoe
around whispering in awed tones and ner-
vously consulting gold watches big as
turnips. Then stick a star into this, and
you have one of the world's wonders. I
shall not forget the departure of Lily Pons,
little sweetheart of the opera on her way
to Hollywood, on the gallows.

Her entrance was superb. Flanked by
press agents, surrounded by family and
adoring friends, followed by a platoon of
porters with the imperial baggage, these
ninety-eight pounds of nightingale swept
beaming down the deep plush pathway.

Flashlights played upon her like heat-
lightning. Someone thrust three dozen
flaming roses, each as big as a head of
cabbage, into her arms. Mama, secretary,
singing teacher, forty screaming Gallic
friends surrounded her, kissed her hands,
kissed her cheeks. She beamed, laughed,

Gloria Swanson took her own snap-
shots when she visited Herbert
Marshall and Merle Oberon on
a set for "The Dark Angel."

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kissed back. Cecil DeMille and Ernst
Lubitsch, headed home to Hollywood,
passed unnoticed. Name of a pipe! Was
not the great little Pons going into the
movies ?

She stood up, she sat down, she waved,
she kissed her hand for the snapping
cameras. The majestic conductor frowned
at his watch, raised his hand. The train
moved. "Au revoir ! Bonne chance ! Mon
Dieu! Kees Papa!"

Hysterical, we all ran beside Lily's car
as it slid away. We waved, we screamed,
we kissed our hands, we fell unconscious.
The century was gone ! Pons was gone !
Everything was gone !

Stars going. Stars coming. Legs, dance-
steps, waves of greeting, muttered fare-
wells, scowls, grins, lights, music —
CAMERA! Day after day, week after
week, year after year, New York greets
our movie pals and peeves — sends them
away in a blaze of flashlights and hoorays.

Oh, sure — Hollywood may be sublimely
cuckoo. Hollywood may think it has a
corner on merriment. But when the Cen-
tury comes sliding in — when the Normandie
pokes her majestic snout through the Nar-
rows down the Bay — we simple New
Yorkers have our share, and more, of fun
and fuss and folderol.

Their Own Worst
Critics

Continued from page 19

of backhanded imitation of The Great
Stone Face.

When the picture was over he was met
at the door by that inevitable usher who
insists on shoving one of those The-Pro-
ducer-Is-Just-Dying-To-Know-What-You-
Think-Of- This -Picture- Please- Write- Sug-
gestions- O n- Back- Of-This- Card-And-Mail
-At-Our-Expense, cards at all and sundry.
Very suavely, Mr. Montgomery accepted
it. Bowing politely to a little party of
friends, he retired to a more or less quiet
corner and began to write on his card.

Now if it hadn't been for someone who
is not above looking over a gentleman's
shoulder while he is writing, what Mr.
Montgomery put on that card would have
been lost to posterity. But there are such
people in the world, (thank goodness),
and so the Montgomery criticism is given
to you exactly as he gave it to himself.
On the address side of the card he wrote
his own name and address. On the com-
ment side were these few simple words :

My dear Mr. Montgomery: You are
too damn smart for my money. Cordially,
Bob Montgomery.

In fact, "No More Ladies" was a sort
of field night for Million Dollar critics,
at large.

It was none other than Joan Crawford,
herself, who pulled the perfect retort on
a Glendale housewife who occupied a seat
near her, directly in front of the roped-off
pre-view section. At the end of the sec-
ond reel, the lady began to yawn. In the
middle of the third reel, she began to
complain to her husband. During reel
four she gave him a nudge in the ribs :
"If we knew how this thing was going
to end, we could go home/' she said in
one of those carrying voices.

But the voice behind her was even
clearer. It was la belle Crawford's own
low contralto, "It ends just like all other
Joan Crawford pictures," — a little sigh —
"there are no surprises in this one !"

In spite of the fact that "No More

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Lights beam and lenses are focussed as the doctor looks at a lovely
girl! Paul Muni enacts a scene with Ann Dvorak for "Dr. Socrates."

Ladies" went forth to mop up at the box-
office, Joan still insists that "you couldn't
see the sets for my collars — and when I
didn't wear a collar, my hair was in the

way !"

I once attended a pre-view of one of
her own pictures with Jean Harlow. I'll
never do it again. Our friendship wouldn't
stand the strain. In the first place, I
thought the picture was very good— (it
was "The Girl From Missouri") — and I
wasn't trying to return the compliment
for the delicious dinner we'd enjoyed at
Jean's house earlier in the evening when
I told her I thought it was the best thing
she had done since "Red Dust" and "Red-
Headed Woman."

"Oh, shut up !" quoth Miss Harlow, and
then gave way to one of the wettest fits
of weeping I've ever watched. And I
mean, weeping ! She sat over in a corner
of her elegant town car, her feet curled
under, and went through three handker-
chiefs, including mine. It sounds like a
gag — but it isn't. Jean thinks she is ter-
rible on the screen. She has never seen
one of her pictures, even the best ones,
that didn't make her blue for days. She
invariably hates herself thoroughly until
the. box-office returns start to come in.
If they're no better than average, she still
hates herself! But if they're sensational,
and the critics are enthusiastic, she becomes
mildly reconciled and concedes that maybe
it was a little better than she thought at
first but that's all !

Her gentleman friend, Mr. William
Powell, doesn't weep over his lesser per-
formances, he just makes you weep over
his burlesques of them! Bill is no self-
effacing, modest violet where his work
is concerned. He knows as well as the
next one when he has given a good per-
formance. But he knows much better than
the next fellow when he has given a
mediocre one.

There's no describing Bill Powell's imi-
tation of William Powell in "The key,"
because it's one of those things that has
to be seen to be believed. If you remem-
ber, Bill played an English officer in that

film, and he did a lot of heel-clicking, sa-
luting, and coat-tail-swishing. When Bill
does it in his drawing-room he does every-
thing but "take off" !

Sometimes there are technical faults in
a picture that have nothing to do with the
steller performances — only you and I don't
know it ! For instance, it is frequently
necessary to tighten the story by elimi-
nating certain sequences entirely, and this
sometimes throws the star performers on
the screen too often. In "Broadway Gon-
dolier" Dick Powell is on the screen al-
most constantly; he is in practically every
frame of film. Through no fault of the
actor, this frequently leads fans and critics
to believe a star is "hogging the show"
and getting his face in the camera too
often. But, apparently, no one was more
of this frame of mind than Mr. Powell at
the time of the Hollywood pre-view.

After he had smiled, sung, acted and
"pepped" through every scene so far in
the running, they suddenly switched to a
close-up of Joan Blondell in which she
asks : "Where have you been ?" or words
to that effect to an off -screen character —
(that is, not yet within camera range).

The next scene is a grinning close-up
of the Deb's Delight, Mr. Powell, himself.

"Gosh," groaned Dick in his preview
seat, "haven't I been there all the - time?"

They tell the story out at Fox Hills of
Loretta Young, sitting in the projection-
room, watching a few reels of "The White
Parade" run off. There was a certain
sequence in which the hero turns to Loretta,
the nurse, and tells her he is going _ to
give her a kiss if she doesn't stop looking
so pretty. The following close-up was
not one of Loretta's most flattering. The
camera angle made her slender face look
even a little thinner.

Suddenly there was a loud, and rude,
giggle from Loretta. "I look like what I
need is a meal — not a kiss !"

Ginger Rogers insists that the only
thing "funnier than W. C. Fields on the
screen, is Ginger Rogers in a hat — any
hat!

for October 1935

"I just haven't a 'hat face,' " she swears,
and it's a fetish with the gal. "Every
time I appear on the screen in a hat, I
nearly curl up from embarrassment. I've
never seen myself in a hat that I haven't
wanted to stand up and sing : 'Where did
you get that hat?' Half the time I have
to shut my eyes until I'm hatless again !"

Personally, I'd never suspected Constance
Bennett of a sense of humor about herself,
until the night I sat next to her at the
pre-view of "The Outcast Lady," nee
"The Green Hat." Now Connie has one
feature of her face which she does not
admire, and that is that determined little
square chin of hers that goes around just
looking for a good fight. When the first
bad camera angle on her chin flashed on,
Connie merely grunted. When the second
bad angle came, she shook her head. But
after the fifth or sixth flash of that
double-dare-you feature, she laughed : "One
more thrust of that chin, and they'll have
to hang a red lantern on it !"

By this time I hope it is pretty clear
that the Hollywood stars can not only take
it in salaries, fame, and fortune, but they
can also dish it out to themselves as no
one else has ever dared to. But in case
the point is still in dispute, consider the
story they tell on the hell-raisin' Miss
Hepburn.

Not long ago a very smart, but caustic
magazine, ran a cartoon depicting two
large-eyed, gossipy-looking horses with
their heads together over their stalls, toss-
ing their enormous orbs in the direction of
another horse, with her nostrils in the
air haughtily ignoring them. The caption
under this picture was very funny, but
far from flattering to Katharine Hepburn.
Everyone was going to no end of bother
to keep the offensive picture from the tem-
pestuous Katie

But one day the "Break Of Hearts"
company came back from lunch and found
their illustrious star practically rolling on
the floor, clutching her sides and howling
with mirth.

The picture she waved in her hand was
the one, and she fairly rocked as she
read and re-read the caption :

Ever since they told her she looks like
Katharine Hepburn, yon can't do a thing
with her!

Bill Powell in a scene from "The
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JONGS

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Here's Hollywood

Continued from page 61

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A RECENT Hollywood marriage that
didn't surprise the picture colony was
that of Ernst Lubitsch and Vivien Gaye.
This is one of the more recent romances of
our town, but from its beginning it seemed
one destined to lead to the altar the director
and production chief who has often before
been reported "on the verge," as it were.
Vivien Gaye, you remember, was the Randy
Scott romance back in the old days (last
year), when Cary Grant and Randy kept
bachelor's hall, and a very grand time was
had by all.

[AYBE you will be interested
to know that picture pro-
duction has reached a peak in
recent weeks, with Columbia
having so many in action they
had to rent space in a neighbor-
ing studio. And the extras are
having a field day. Nine thou-
sand were employed in one
week !

THE socialistic trend in schools and uni-
versities was bound to show up on the
screen sooner or later — and now it's sooner.
Universal is touching on it in "Offside," a
football yarn. And the lead — guess who?
Charlie Farrell, your old pal of the popular
Janet Gay nor- Charles Farrell film series.

THE actress shall be nameless, but the
actor in this off -screen comedy is Frank
McHugh, who was doing an important
scene with the lady, when the director said :
"Frank, I want you to give this everything
you have." "What !" cried Frank, "and be
the star of the picture?"

DURING a slight outburst of temper
over a missed putt during a golf tour-
' nament, Richard Arlen broke a club across
his knee. Next day, when he played with
another opponent, Dick was presented with
a new putter on every green — eighteen
in all— and was his face red?

REDUCING continues to be the private
•problem of most Hollywood gals.
It's especially the bane of Mary Carlisle's
life. Whenever she inspects a new bunch
of "stills" her first glance is for her figure.
Then she hastily observes whether her
cheeks are thinner.

Poor Mary was quite depressed when
Marlene Dietrich confided that the cam-
eramen could make anyone alluring — "if
you're important enough !" The conscien-
tious ingenue wonders how many years
she'll have to suffer before she can quit
calory-cutting and let a photographer
scheme with angles and shadows.

IF YOU have been wondering
what happened to Baby Le-
Roy, here is good news. He has
learned to talk and is coming
back to pictures. Had to take
time off, because you can't learn
talking and memorizing lines all
at the same time. Baby LeRoy
is now three years old, and con-
tinues his career in "From Little
Acorns," the working title of a
story about the C.C.C. camps.

IMAGINE Verree Teasdale playing a
hard-berled gal ! And just fancy her be-
ing tickled to death about it. But of course,
there's a reason. Adolphe Menjou is also in
the picture, and the missus has never made
one with him. It's "The Milky Way,"
Harold Lloyd's latest.

AS SOON as Joan Bennett ar-
rived at Columbia Studio
for her picture with George Raft,
Director Tay Garnett, took her
aside and whispered the news.
"We want you to look like your-
self and act like your sister Con-
nie. That's the kind of a girl this
one is!"

IN NO other business in the world could
such rapid strides be made as in pictures.
Three years ago, George Cukor was a
dialogue director on "All Quiet on the
Western Front." In that space of time he
has become the ace director in pictures
with a salary, under his new contract, of
$6,000 a week. Well, his "Little Women"
and "David Copperfield" were great pic-
tures.

A LOT of people saw Janet Gaynor off
to Honolulu, but there didn't seem
to be one — one in particular — who was
most concerned. If there was, she told
him goodbye earlier. Harold Anderson
flew down from Boulder Dam to say his
farewells. Janet wore Ramon Novarro's
gardenias. But neither is a romance, ac-
cording to Janet. Her sister arrived un-
expectedly from New York, by 'plane, just
before sailing time, and went along. Mrs.
Gaynor and Margaret Lindsay also are
present. This makes the three biggest Fox
stars off the lot while the re-organization
of Twentieth Century goes on. Will
Rogers took off for Arizona, and ShirW
Temple preceded Janet for Honolulu by
two days.

TITTLE Marjorie Keeler will
■J-"* remember her opening night
at the Cocoanut Grove as long as
she lives! Sister Ruby made it
"one beeg" occasion. Everybody
was there — including, naturally,
the entire Keeler clan, which is
quite a crowd all by itself. Sis-
ter shakes a mean hoof and does
right by the family name.

UNLESS the unexpected happens — and
it will have to be something impor-
tant, you may be sure — Bing Crosby will
be among the owners at the gay Saratoga
track who watch their colors march to
the post during the August meet. Bing
plans to vacation in the East, but particu-
larly to take at least two of his racers to
run for money and glory at the Spa.

THE autographing situation has become
acute in town, and steps are being
taken to preserve the life and limb, to say
nothing of their clothes, of our popular
stars. At a preview the other night Clark
Gable, with cops and publicity men running
interference for him, had the sleeve of his
coat ripped out, and barely made the en-
trance, though Clark smiled through it all.

ITCHING Totfuht

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for October 19 33

RAMON NOVARRO is on a
perfectly amazing diet which
has the Ponce-de-Leon effect of
making him look just the way he
did when he first entered pictures !
It is largely vegetables, with no
salt, butter, bread or alcohol.
Okay girls — one, two, three
start! M-G-M actually asked
him to make another "Pagan"
but Ramon said no thank you, he
was grown up now, and didn't
fancy dashing about in one of
those tropical sunsuits.

THIS month's show-must-go-on item:
Joan Bennett had to go to the hospital
for- three days' medical observation. She
waited until Paramount's schedule for the
new Bing Crosby picture, in which she's
the gal, allowed her that much free time
all at once. The director never knew she
hadn't been idling at home.

the-wisp these days of quick and simple
transportation, even her studio cannot find
her. She hops on a plane for New York
with the least possible fuss, seldom recog-
nized, using a different name every time.

IS IT a plain case of homesickness or just
the necessity of business that is at the
bottom of Doug Fairbanks, Sr.'s reported
decision to return to Hollywood? In New
York, Mary Pickford said that Doug
would come back to work with his busi-
ness partners, the heads of United Artists,
of which Mary is one. Friends of Doug's
say he'll be back because he's homesick.

FREDDIE MARCH is going
to be "Anthony Adverse"
for the Messrs. Warner, hur-
rah, hurrah! But he is taking a
month off before the picture
starts, to rest up at Laguna —
and finish his book.

ALL the while she was in Hollywood,
X~V Lilian Harvey pined for the handsome
Willy Fritsch, and there was some mutual
pining involved in their separation, you
may be sure. Well, Lilian is in Europe
now, making a picture for UFA, and her
leading man is — of course, friend Willy.

MICHAEL BARTLETT literally is
singing his way into the heart of
Hollywood. At Claudette Colbert's party,
the engaging Mike obliged by lifting his
beautiful voice in song for every "request,"
and there were many.

WHY BE FAT?

It's just too, too amazin' Evelyn Poe thinks — and we do, too, Evelyn — the way
Betty Grable and Hermes Pan defy the laws of gravity in this bit of
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SCREENLAND

Spencer Tracy and Virginia Bruce head
a line cast and have a story that gives a very
different twist to the murder mystery angle
of newspaper reporting. It is a strong and
punchy melodrama, with a really grand
piece of characterization by Tracy and a
most appealing and touching one by Miss
Bruce. But unless you can take your
melodrama straight, unhappy ending in-
cluded, the ending will not be pleasing.

This is a howl from start to finish, and
you can't miss on it. Joan Blondell and
Glenda Farrell are process-servers for a
delightfully nutty lawyer, Hugh Herbert,
and the methods plus results of these three
will have you rolling in the aisle. It isn't
smart, it isn't sophisticated — just crammed
with down-to-earth belly-laughs and the
tempo that tells. The dependable Warner
stock players fill out the cast. Laughs !

Aside from the title, and a torture con-
traption based on his "Pit and the Pendu-
lum," there's little of Poe here. It all
seems too mechanical in its straining for
the horror note to be entertaining or ex-
citing either. Bela Lugosi plays an eccen-
tric surgeon who makes, a fetish of "The
Raven" and longs to torture people, exer-
cising his desire when a pretty girl refuses
him. Boris Karloff is impressive as usual.

Warren William as a Broadway gambler
who turns from book-making to "insur-
ance." He writes a policy for a Southern
gentleman, played by Guy Kibbee, guar-
anteeing that "his daughter, Claire Dodd,
will not marry for three years, thus in-
suring the "hospitality" the Colonel enjoys
living with his daughter, who is a stage
star. It is light, pleasant, and thoroughly
enjoyable fiction with good acting to boot.

TAGGING
the TALKIES

Delight Evans' Reviews
on Pages 52-53

A dazzling display of acting, handsome
staging, clever writing and deft direction,
but a film lacking the vital spark that
makes for great entertainment. The dy-
namic and extraordinarily gifted Mary
Ellis plays to the very hilt her role of
Parisian star who gets into comnlications
that are not naughty but very zestful when
she tries to make her Italian suitor jealous.
Tullio Carminati and James Blakeley score.

Bette Davis hunts headlines instead of
men as an ambitious newspaper reporter
who is in love with George Brent, ace
newsman of a rival paper. You've guessed
it — Bette gets both her headline and the
man she loves. This is a very sprightly
and entertaining picture — pure fiction as to
story, but with snappy dialogue and fast
action, and mighty clever performances by
the Davis-Brent team. You'll enjoy it.

Easily one of the most completely enjoy-
able and boisterously funny films of the
season. Alice Brady has a part worthy of
her talents, and scores one of the most
emphatic personal hits registered in some
time. It's about a cook at a railroad camp
who inherits a fortune, and proceeds to
live up to the social position her wealth
warrants. In a fine cast, Alan Mowbray
and Douglass Montgomery are outstanding.

Here is probably the funniest Joe E.
Brown comedy, regardless of whether you
are or are not a baseball fan. You'll laugh
at Joe's hilarious characterization of a
small-town pitcher who gets into the big
leagues, and has an alibi ready for every
error. The baseball scenes are hilarious,
and the film is notable from another stand-
point— it gives you your first glimpse of
Olivia de Haviland, charming newcomer.

A back-stage story with musical and
dance interludes, very pleasantly acted by
Gene Raymond as an ambitious young song
writer and producer, and Ann Sothern as
a singer getting her first big break in the
production that almost brings financial ruin
to Raymond. A dance specialty by Bill
Robinson is one of the hits of the show.
It has the virtue of being unpretentious and
engaging, but the fault of being slow.

You never saw a college like this one,
but the kids in it have such a good time,
who cares? Buddy Rogers heads the big
musical cast, as the college boy in love
with Grace Bradley, the wrong girl. So
his dad, George Barbier, becomes a fresh-
man— actually ! — to keep sonny out of trou-
ble. Barbara Kent is papa's choice, and
she wins. There is a lot of grand non-
sense by Eric Blore and Erik Rhodes.

Old-timer Joseph Cawthorne and new-
comer Pinky Tomlin steal this picture with
laughs that tumble over each other. It's
about Ida Lupino and Gail Patrick, wealthy
sisters who lose their fortune. Ida goes to
work for Cawthorne, Gail marries Kent
Taylor whom Ida loves. There is also
a big business mix-up which takes Caw-
thorne out of the hat business into the oil
game, and will put you in stitches.

Brings You
Fourteen Issues

A SEVEN-MONTH subscription to both Screenland and Silver Screen at about
half the single copy price.
Think of it! Fourteen issues of your favorite screen magazines at a little more
than a nickel each — and delivered to your door.

That means that twice a month for seven months you will receive a brand new
screen magazine, brimming full of all the latest Hollywood news.

The last of each month you will get the new issue of Screenland. And then about
two weeks later your new Silver Screen will arrive. In other words, for seven long
months you will never be without a fresh copy. And all for a dollar.

Fill in the coupon and mail today!

BE AMONG the first to cash in on this unusual offer —
one of the most liberal ever made to our readers.
And remember Screenland and Silver Screen have long
been recognized as the two leading screen magazines.
And they are going to be bigger and better than ever
during the coming months.

You'll enjoy every word of the news and gossip columns,
the reviews of the new pictures, the interviews with your
favorite stars. And you'll like the beauty articles, the
home furnishing pages, the contests, the snapshots of
picture people at work and play, the rotogravure section
and dozens of other features that make Screenland and
Silver Screen the best edited magazines that money can
buy.

So fill in the coupon right now and mail it to us with
a dollar in money-order, check, or cash. And for seven
months you'll get the biggest dollar's worth of pleasure
you ever bought.

SCREENLAND SUBSCRIPTION CLUB,

Screenland Magazine, 45 West 45th Street, New York City, N. Y.

Here's one dollar ($1.00) for which you are to send me a seven-
month subscription to Screenland and a seven-month subscription
to Silver Screen. (Canadian postage $1.00 extra; Foreign $1.50
extra.)

Name

Address

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